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HOME PAINTING 
MANUAL 



0Illlllllllillllllllllllllllllllllillllllllllllllilllllllllllll»IIIIIIWIIIIHil|||||||||||ll 



THE 

HOME PAINTING 




A Coniplric Ihmdhook on Home Painting and DecoraliiKj 
Full Information About Paints and ] nrnishes 
and Their Application 



Price 50c 



PUBLISHED BY 



The Sherwin-Williams Co. 

601 CANAL ROAD, N. W., CLEVELAND, OHIO 



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THE 

HOME PAINTING 

MANUAL/ 




A Coniplclc Handbook on Home Painting and Decoralinij 
Fidl Informal ion About Paints and ]'arnishes 
and Their Application 



Price 50c 



PUBLISHED BY 



The Sherwin-Williams Co. 

601 CANAL ROAD, N.W., CLEVELAND, OHIO 



iniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii 



COPYRIGHT 1922 

BY 

The Sherwin-Williams Co. 

CLEVELAND, OHIO 



All rights reserved 



Printed in U.S. A. 

©C1A657688 



JAN 27 1922 



\/ 



7T32D 

.S53 
Copy 2 



Contents 



Page 
HOME UPKEEP 9-11 

THE FOUR PURPOSES OF PAINT AND VARNISH 

For Preservation 13 

For Decoration 14 

For Economic Reasons. 14 

For Sanitation 15 

THE RIGHT USE OF PAINT 

Preparing the Surface 17 

Applying the Paint.. 17 

Painting New or Very Old Spongy Surfaces... 18 

Painting Old Surfaces Previously Painted...- 18 

The Priming Coat Very Important 18-19 

How to Properly Mix Prepared Paint 22 

Prepared Paint vs. Hand Mixed. 23-24 

Brushes — The Kind to Use and How to Use Them 25-26 

Some Painting Donts 27 

Helpful Suggestions 28 

ESTIMATING 

Exterior Estimating 29-31 

Interior Estimating 32-34 

Table of Covering Capacities 32-35 

INDIVIDUAL TREATMENT IN EXTERIOR PAINTING 

The Prominent Location... _.. 38 

The House with Close Neighbors 38 

How Color Influences the Appearance of Surfaces 39 

The Small House 39 

The Large House . . — 39 

The Tall, Narrow House ,.....,.- .41 

INTERIOR FINISHING— WOODWORK AND FURNITURE 

To Remove Paint or Varnish : 47 

Varnishing : 48-52 

To Refinish Woodwork and Furniture Previously Painted or 

Varnished 48-49 

Practical Varnishing Suggestions.. 51-53 

Use of Sandpaper 51 

How to Produce a Rubbed Finish 52 

The Dull Rubbed Effect 52 

A High Polish 53 

The Use of Stains in Interior Finishing. ...53-56 

Purposes and Use of Paste Filler 56-57 

Handcraft System Effects for Woodwork and Furniture 57-60 

To Enamel Woodwork and Furniture , .60-63 

Floorlac Method of Refinishing Woodwork and Furniture 63-65 

A Painted Finish _ 66 

[ Page 3 ] 



THE TREATMENT OF FLOORS 

Finishing New Floors: Page 

Varnished Finish (hard or soft wood) 67-69 

Waxed Finish (hard or soft wood) .69 

Stained Finish (hard or soft wood) 69 

Varnish Stain Finish.. 70-71 

Painted Finish (hard or soft wood) 71 

Refinishing Old Floors: 

Filling the Cracks .-. 73 

Varnished Finish (hard or soft wood).. 73 

Waxed Finish (hard or soft wood) 75 

Varnish Stain Finish (hard or soft wood) 75 

Painted Finish (soft wood) 75 

Linoleum 75 

Dancing Floors .76 

Care of Floors 77 

Cement Floors 77 

INTERIOR WOODWORK— Some of the Best Cabinet Woods and 
How to Finish Them 

Oak 81-83 

Chestnut 83 

Ash 84 

Pine 84 

Oregon Pine or Douglas Fir 85 

Mahogany 85-88 

American Walnut 88-89 

Birch _ ...89-90 

Cherry ...91 

Cypress 91-92 

California Redwood 92 

Gum Wood 92-93 

Specifications for Wood Panels 95-103 

COLOR HARMONY APPLIED IN THE HOME 

Color Chart... '....i .106 

Three Kinds of Color Harmony 

Monochromatic Harmony 107-109 

Analogous Harmony. 109 

Complementary Harmony.. 109-110 

Balance in Color Harmony 110 

The Room in Blue..._ 110-111 

The Room in Pink 111-113 

The Room in Green 113-114 

The Room in Yellow 114-115 

WALL AND CEILING TREATMENT 

Sherwin-Williams Flat- Tone Glazing System: To Blend a 

Wall Color 118-119 

Plain Color Flat-Tone Walls 120-121 

Flat-Tone Multi-Color Stipple Effects: 

Preparation of the Sponge 121 

Colors Required for Stippling 123 

[ Page 4 ] 



WALL AND CEILING TREATMENT— Continued 

Flat-Tone Multi-Color Stipple Effects: Pages 

Directions for Applying the Stipple Color 124 

Amount of Stipple Color Required..— 124 

To Clean the Sponge 124 

STENCILS 

Wall Stencils— Their Use and Application 126-127 

The Block Stencil - 129 

Shading with the Brush 129-130 

How Strong to Make the Stencil Color 131 

The Outline Stencil - 131-132 

Stencil Paint and Its Preparation. 134 

To Reduce Strength of Color -135 

How Thick or Heavy to Have the Paint 135 

The Placing of the Stencil - 135 

Handling of Corners ...136 

Trimming the Stencil.^ _. - -136 

Stencil Guides -. - 136 

Stencil Rules..- - - - 138 

Other Interesting Uses of Stencils 138-139 

MISCELLANEOUS INTERIOR FINISHING 

Andirons - 149 

Baseboards. -153 

Bath Tubs 149-150 

Be;dsteads.. '. 150 

Boilers -. ;- 152 

Chairs --- 150 

Clothes Closets- - 151 

Cement and Concrete Floors.— - 154 

Cupboards ..- - 153 

Fixtures _. 151 

Flower Boxes 153 

Furniture.- - - 151 

Ornamental Iron -149 

Piping - 152 

Radiators — - 149 

Refrigerators - 153 

Shelves _ - - -- 153 

Sinks— - 149 

Stationery Tubs._ 154 

Stove Pipes ...-. 152 

Toys- 153 

Water Boilers 152 

Water Pipes. ...152 

W^ainscoating ...- 153 

Window Sills 153 

Making the Basement Attractive 153-154 



[ Page 5 ] 



MISCP:LLANE0US exterior finishing Pages 

Stiiining Shingles 155 

The Doors, Porch Ceilings, etc. 156 

Painting the Porch Floor and Steps 157 

Painting the Blinds 158 

Gutters, Downspouts, etc 159 

Painting the Screens 159 

Painting Brickwork 159-160 

Painting Concrete and Stucco 161 

Roof Upkeep._ 161-162 

Painting the Garage 162 

Painting Porch and Lawn Furniture 162 

Painting Fences, Arbors, Trellises, etc 163 

Painting Metal Surfaces .163 

Painting Galvanized Iron 164 

CLEANSERS AND POLISHES 

The Washing of Painted, Varnished and Enameled Surfaces 166-167 

Cleaning and Polishing Furniture and Woodwork... 168 

Care of Brass and Other Metal Surfaces 168 

Cleaning and Polishing Floors 168 



f Pase fi I 



List of Color-Page Illustrations 

Exterior Page 

A Neighborhood of Homes 8 

A Small English Stucco Residence 12 

A Home in Colonial Yellow 16 

A Cozy Little Farm Cottage 20 

The Bungalow Home i 30 

The Little Gray Cottage 36 

A Happy Treatment for the Dutch Colonial Home_ _ 40 

Interior 

A Hospitable Hall 46 

A Living-Room in Old Ivory, Blue and Mulberry 50 

A Dining-Room in Gray 54 

A Breakfast Room in Blue and Tan 58 

A Kitchen in Ivory and Blue 64 

A Bath Room in Soft Sea Green 68 

A Man's Room 72 

A Homey Living-Room 74 

A Dining-Room in the Spirit of Old Colony Days 78 

A Charming Living-Room in Gray and Green 104 

A Cheerful Dining-Room in Modern Treatment 108 

A Comfortable Living-Room 116 

A Colorful Dining-Room 122 

A Dainty Bedroom in Ivory Tan and Blue 128 

A Colonial Bedroom 132 

Wood Finishes 

Reproduction in Color of Stain Effects on various 

woods 82, 86, 90, 94, 98 



[ Page 7 ] 



Chapter 1 

Home Upkeep 

Home upkeep is a matter of vital importance to every 
home owner. This for two major reasons: 

1. It protects the investment of three, five, ten, 
twenty-five, thousand dollars, or more; good money 
which needs protection as much as money put into a 
bank. 

2. It makes your home a place where life is worth 
the living. 

Home upkeep without painting and varnishing is impossi- 
ble; in fact, paint and varnish are the principal factors in the 
upkeep of buildings. Therefore the use and possibilities of 
painting should be given thought and attention by every owner 
of property. This book has been prepared especially to help 
home owners get best results in the painting and decorating 
of their homes. 

The possibilities in the production of the ideal home, 
through the intelligent use of paint and varnish, is beyond 
the conception of anyone who has not studied the subject. 
It is not money alone which makes a beautiful home. It is 
no more expensive to have one's home well thought out, 
attractive and inviting, than to have it ill-considered and 
ordinary. The difference is chiefly in knowing how — good 
taste and the use of the right finishes. Harmony is essential 
and this involves the proper treatment of everything from 
basement to ridgepole. 

The color plates in this book show what can be done in 
various types of houses by the tasteful selection of color 
schemes to suit each individual type. The text matter tells 
how to get any of the effects shown, as well as many more. 

In addition to the larger operations of painting and deco- 
rating, there are many opportunities in every home to trans- 
form dark corners into bright spots; renew marred and 

[ Page 9 ] 



scarred woodwork or furniture, refinish a worn floor, 
beautify an unsightly wall, repaint the porch furniture, etc. 
The judicious use of a little thought and very little expense 
will accomplish wonders in this direction. 

Many suggestions for refinishing the little things in and 
about the house will be found in this book. In fact, we have 
tried to make it what the name implies, a manual covering 
the use of paint and varnish materials about the house, to 
which anyone may turn for any information they may 
desire on the subject. 

However, we do not wish to convey the impression that 
all of the methods of painting described in this book, and 
all of the effects shown in the color plates, can be accomplished 
by the householder with the same degree of excellence as if 
done by the professional painter. All high class interior 
work, fine pieces of furniture, etc., should be done by an ex- 
perienced decorator or finisher, and all major outside painting 
jobs should be done by a practical painter, whose experience 
in diagnosing the absorption power of various woods and 
judgment regarding the painting of any particular surface 
are essential to the best possible results in painting. 

Nevertheless much painting and varnishing can be done 
by the home owner and housewife with splendid results if all 
directions are carefully followed, but it should be remembered 
that first class results require the observance of a number of 
points. 

For instance good brushes are necessary. The painter 
uses good brushes and pays the money necessary to get them, 
yet many people without the painter's experience, buy the 
cheapest kind of brushes and wonder why they do not get 
good results. Brushes, if previously used, should also be 
cleaned with the utmost thoroughness before using again. 

Another important thing is to clean the surface thoroughly 
before starting any painting or varnishing. If this is not done, 
the quality of results will not be of the highest standard, and 
peeling, cracking and checking are liable to occur within a 
very short time after application. 

If directions call for sandpapering, this should be done 
by all means, as it helps very materially in getting the 
finished result. 

[ Page 10 ] 



The length of time between coats called for on the direc- 
tions should also be observed. In some cases the material 
may appear to be dry before this time, whereas in reality it 
may only be surface-dry, and if re-coated too soon the fin- 
ishing coat may never dry thoroughly or may go to pieces 
within a comparatively short time after application. 

The foregoing are some of the principal things that should 
be observed. All work should be done carefully and with 
interest, and directions followed throughout. If this be done 
the results will be pleasing. 







[ Page 1 1 ] 



Chapter II 

The Four Purposes of Paint and Varnish 

THERE are four major purposes of painting — for pres- 
ervation, for appearance, for economic reasons and for 
sanitation. Each of these alone is of much importance 
to the owner of property. Some of the principal factors to 
be considered under each caption are as follows : 

For Preservation 

The chief reason for painting, and one that is becoming 
more and more recognized all the time, is that of preservation. 
The decay of structural materials is rapid. The microscope 
will record the initial start of such decay even after 24 
hours' exposure of some building products; and the naked 
eye is sufficiently strong to perceive the erosion that is often 
evidenced in a few weeks. 

Paint is the ideal wood preservative, sealing the pores 
of the wood and preventing the entrance of decay- 
producing organisms. You have 
probably noticed the very com- 
prehensive series of advertise- 
ments published in the magazines, 
entitled "Save the Surface and You 
Save All." That's the secret of 
building preservation. The surface 
is the danger point. That is where 
disintegration begins. Everything 
with a surface needs surface protec- 
tion. Good oil paint affords best 
possible protection to out-buildings, 
sheds, posts, fences, wagons, imple- 
ments, windmills, automobiles, etc. 
Oil paint, when applied, dries to a 
continuous elastic film of metallic, 
wear-resisting pigments. 




The piece of siding at the left 
was taken from a house left un- 
pointed for a number of years. 
The one at the right was from 
another building erected about 
the same time and which was 
painted whenever necessary. 
(Photograph courtesy of H. A. 
Gardner.) 



[ Page 13 ] 



For Appearance 

Painting has been in the past, and is today, very largely 
done for appearance — or at least appearance has been the 
determining factor in a large majority of cases. 

We paint because our property looks shabby; we paint 
because other people in the neighborhood do. We do not 
want our building to look bad by comparison. 

Noted economists tell us there is no better way to judge 
the prosperity and civilization of people than by the appear- 
ance of their houses. The prosperity and standing of the 
individual among his friends, neighbors, and business asso- 
ciates is judged largely by this factor. 

And appearance, in itself, is sufficient reason for painting. 
The appearance of your house is as important as the appear- 
ance of your clothes — and for the same reason. 

If your house looks shabby you cannot afford not to paint. 

For Econom ic Reasons 

Painting is insurance against decay. This factor alone 
makes painting good business, in fact, painting-insurance is 
a better proposition than fire-insurance because painting 
insures against certain deterioration, repair bills and financial 
loss; while fire insurance insures only against the possibility 
of fire, which may never occur. 

Paint also has a loaning value at the banks. A banker 
will loan more money on well 
painted property than on a place 
that is unpainted or rundown. A 
recent investigation in the middle 
west as to the value of paint upon 
farm buildings, developed the infor- 
mation that bankers would loan from 
5 to 50% (the average being 25%) 
more on property where buildings 
were well painted and kept in good 
condition than on property where 
this was not the case. 




ri„,h,.ir.,t,li ,,l slum, Irfl ini- 
puiiilfil. i\()l<' cracks and por- 
ous nalure of surface. Moisture 
enters cracks and seeps through 
wall. Paint effectively prevents 
this. { Photograph courtesy of 
H. A. (iardner.) 



Paint also has a salesmanship 
value. A young couple wanted to 
sell their home. Before trying to sell 

[ Page 14 ] 



it, they decided to paint and decorate it. A neighbor said, 
"Why on earth are you doing all the painting if you are going 
to sell?" 

"The painting may cost us $400, but we will get $1,000 to 
$1,500 more for the house and will sell it quicker." 

They did so, and as a matter of fact, the decoration so 
pleased a lady who was looking at it, that her husband closed 
the deal then and there for cash. 

Even if you are not trying to sell your house, if it is 
attractively painted, there is a possibility of getting an 
offer any time that will yield so much profit that you cannot 
afford to turn it down. 

Painting is a good investment and anyone can demon- 
strate this to his own satisfaction with a little reasoning. 

For Sanitation 

From the standpoint of sanitation and hygiene, buildings 
should be kept properly painted. 

"The future of paint is to add to beauty, preservation and 
economy the ten million times more important factor, health," 
said the well known chemist, Henry A. Gardner, of the In- 
stitute of Industrial Research 
at Washington. Well painted 
buildings are necessary to the 
most sanitary conditions pos- 
sible. Paint resists moisture, 
vermin, germ life. Paint meets 
the problem of sanitation at 
its source; accomplishing its 
results by the prevention 

eriy whm dec£'^oncf7dya^^^ rathcr than thc dcstructioR of 

courtesy of H.A.Gardner.) gj^j^ Nothing morc need be 

said on this subject, as certainly everybody wants his home 
to be as sanitary as possible. 




[ Page 15 ] 




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Chapter III 

The Right Use of Paint 

GOOD results in painting depend largely upon the prop- 
er condition of the surface, correct application of 
the paint, and favorable weather conditions. We 
are, therefore, making this chapter on "The Right Use of 
Paint" just as definite and practical as possible; giving a 
general resume of painting principles, as well as practical 
hints that will help you get better results. 

Preparing the Surface 

On new exterior work, all knots and pitchy, sappy places 
should be brush-coated with shellac shortly before the appli- 
cation of first coat to prevent the pitch coming through the 
paint later. (Cracks and nail holes should not be puttied 
until after the priming coat). 

If the building has been previously painted, all old, loose 
paint should be removed with a wire brush or scraper. If in 
very bad condition it may be necessary to burn off the old 
coating with a painter's torch. 

Always see that the surface to be painted is free from dirt, 
dust and grease. Paint will not hold onto such surfaces, and 
it is almost sure to peel. It is often advisable to wash surfaces 
that are extremely dirty and greasy, before applying the 
paint. (S-W Flaxoap, a linseed oil soap, is ideal to use for 
this purpose.) 

Applying the Paint 

Paint should always be stirred to an even and creamy 
consistency immediately before and during application. 

Exterior paint should be applied with brush scant-full and 
brushed onto the surface with a stroke from left to right and 
back again. 

[ Page 17 ] 



Use Plenty of "Elbow Grease'' 

Plenty of "elbow grease" should be used to brush the paint 
well into the pores of the wood and to spread it into thin, 
uniform* coats. It is better to have paint brushed out too thin 
than to flow on thick, heavy coats which may look better 
temporarily, as too heavy a coating does not dry thoroughly 
and is likely to crack and prevent the surface from ever being 
properly repainted, unless all the heavy undercoats are 
burned off. 

New or Very Old Spongy Surfaces 
To insure good results on new or very old spongy surfaces, 
three coats should always be applied. Sufficient pure raw 
linseed oil should be added to the first and second coats to 
properly fill the wood and still leave enough oil to bind the 
pigment thoroughly. Some turpentine also should be added 
to the first and second coat, especially in the case of new sur- 
faces which are hard and resinous. Turpentine is added in 
the first coat to insure proper penetration and in the second 
coat principally to cut the gloss sufficiently to enable the 
succeeding coat to adhere without "crawling." 

Old Surfaces Previously Painted 
For old work previously painted, two coats should always 
be applied — three are better. On surfaces which are hard and 
impervious, equal parts of pure spirits of turpentine and pure 
raw linseed oil should be used in reducing the paint to a thin 
consistency to secure proper penetration and homogeneous 
drying of the new coat. A first coat should never be applied 
without some turpentine in it. In three-coat work, the 
second coat should be reduced the same as the first, except 
use about half the proportion of the reducers. 

Priming Coat Very Important 
The idea that any old paint will do for priming, since it 
is covered over anyway, is absolutely wrong — in fact, just the 
opposite is true — the priming coat is the foundation coat 
which is applied directly to the wood and consequently is 
most important of all because the subsequent coats are de- 
pendent upon it. If there is to be any difference in quality 
the priming coat should be the better. 

[ Page 18 ] 



Although the priming coat should be of the highest quality, 
it is necessary that it be thinner in consistency than the other 
coats so as to properly penetrate and provide a "tooth" to 
grip the surface, at the same time to fill and seal the pores of 
the wood and still leave sufficient oil to produce a proper paint 
film. 

In some localities yellow ochre and mineral reds, such as 
Venetian, rossie and other oxides, have been used for primers 
and these particularly should be avoided as they are totally 
unfit for use as a priming coat which is to be subsequently 
coated with lead and zinc paint. These pigments come in dry 
form and do not combine readily with linseed oil. Many of 
the particles, unless actually ground in oil, are never thoroughly 
saturated — so that after being applied to the surface, much 
of the oil is absorbed by such particles, with the result that 
there is not sufficient oil left to provide a proper film. 

Such primers seldom dry thoroughly and cause permanent 
"tackiness" and oftentimes peeling. Then, too, the nature of 
these pigments is such as to make them very difficult to 
spread to any degree of uniformity over any large amount 
of surface. 

It is always advisable to use the same paint for the priming 
coat as will be used for the finishing coat, except it should be 
reduced to the desired consistency according to the directions. 

Never paint before plaster or wet basements have dried 
out, or around fresh mortar beds 

The interior plaster work of a new building should always 
be allowed to dry thoroughly before applying paint to the 
exterior of a building. Every yard of green plaster contains 
nearly a gallon of water, and unless thorough ventilation is 
given and the moisture is allowed to evaporate and escape in 
that way, it is forced to escape through the siding; in 
which event the result would inevitably be blistering or 
peeling, even though the siding may have been thoroughly 
dry when put on. 

Painting around fresh mortar beds should also be avoided 
on account of the tendency of the oil in any paint to absorb 
the moisture and fumes from the lime. 

[ Page 19 ] 



Do not paint in direct heat of sun or in damp or very 
cold weather 

Painting in the direct heat of the Summer sun should be 
avoided to the greatest extent possible, as it will blister the 
paint. Paint on the shady side of the building as much as 
possible. Painting, however, should never be done during 
or following a dew or heavy frost, in heavy, damp, foggy 
atmosphere, or while the wood is still wet from a rain. Good 
paint dries with a sealed film, thereby protecting the surface 
from the elements, but when there is moisture in the wood 
before the paint is applied, it is bound to escape somehow 
when the hot sun beats down upon it. The sealed film 
being elastic, in its effort to resist it all it can, expands into 
blisters, which eventually give way and burst, causing an 
unsightly and injurious peeled condition. 

Do not allow any coat to stand too long before 
applying succeeding coat 

Do not apply any coat of paint and let it stand until the 
following year before a subsequent coat is applied. It will 
have weathered sufficiently in that time to absorb some of 
the elasticity of the succeeding coat, so that the final result 
cannot be satisfactory. Also do not allow any coat of paint 
to stand until it is bone hard before continuing the work. 
One coat should follow another within reasonable time until 
the work is finished. If the under surface is allowed to get 
too hard, it will not have the proper tooth to allow the succeed- 
ing coat to get a grip or hold on it. 

Two coats or three coats — which? 

Does it pay to give the new home two or three coats of 
paint when one considers the extra cost of the third coat? 
This is a question often asked by property owners. The truth 
about this is that, in many cases, the second coat has only 
succeeded in perfectly satisfying the absorption of the wood 
and the third coat is required for adequate protection. 

In the foregoing, the priming coat is counted as one coat; 
two-coat work meaning a priming coat followed by a finishing 
coat, and three-coat work meaning a priming coat followed 
by two other coats. 

[ Page 21 ] 



How to Properly Mix Prepared Paint 

To secure best results from any good prepared paint, it must 
be properly mixed. The illustrations below and their ex- 
planations tell how to mix prepared paint properly and in 
the least time. 




Shake the package 
violently. 



Stir the pigment 

and remaining oil 

with strong, smooth 

paddle that is of a 

shape which will 

admit of getting 

around the edges 

and bring up all of 

the pigment. Do this until the 

mass is smooth and entirely uniform 

throughout., 





Cut out the 
whole top. 




3. 

Pour off into an- 
other package at 
least two-thirds of 
the vehicle that has 
raised above the 
pigment. 




Begin returning the 
surplus vehicle a 
little at a time, until 
all has again been 
added, stirring con- 
stantly. 



6. 

Then "box" the paint 
— that is, pour it back 
and forth from one 
pail to another from 
half a dozen to a dozen 
times, each time leav- 
ing about one-quarter 

of the paint in the pail which is 

being emptied. 




If the above method is followed you will be sure not to 
have thick paint that will peel or thin paint that will not 
cover. 



[ Page 22 I 



What Constitutes the Best Paint 

Prepared Paint vs. Hand Mixed 

The best paint is always essential to best results. There- 
fore, in painting a house, one should be most careful as to the 
materials with which it is painted. The best paint to use is 
undoubtedly a high grade prepared paint made by a reputable 
manufacturer. There are certain definite reasons why it is 
much better than hand-mixed or so-called "lead and oil." 

It is only reasonable that a man who buys the materials 
and mixes the paint himself cannot possibly produce the equal 
of good prepared paint. It is a case of hand work against 
mechanical efficiency; human guesswork against exact scien- 
tific formulae; hand stirring against machine grinding. 

Good white lead and pure raw linseed oil make a fairly 
good paint, and for years was the best paint known. In fact, 
for a long period white lead was practically the only base pig- 
ment known. It became a tradition of the painter's trade and 
anything else was not even considered. 

To say, however, that straight "lead and oil" paint today 
is the best, would be to say that the world has progressed in 
every other industry but that of paint making. Time has 
changed things. The paint industry, like every other, has ad- 
vanced and improved. It was realized that straight white 
lead (and oil) was too soft, and allowed the hot sun to draw out 
the oil and oxidize the film, causing the paint to lose its gloss, 
chalk and rub off. Effort was constantly being made to 
remedy this difficulty. 

It was about seventy years ago that the use of zinc as a 
paint pigment was discovered by a French master painter, 
named Le Clare, who used it in his own work with such superior 
results that he was presented with a gold medal and Cross of 
the Legion of Honor for distinguished services rendered. 

Zinc oxide is whiter than lead and possesses greater spread- 
ing capacity because it takes more oil, and, being hard, holds 
the oil to the surface. However, it was soon discovered that 
zinc alone dries too hard and quickly becomes brittle and 
cracks and peels. Furthermore, that for the same reason it is 
objectionable for repainting, making it difficult to get new 
paint to adhere to it. 
[ Page 23 ] 



The problem then was to incorporate these two base pig- 
ments in the right scientific proportions so that the softness 
of the lead would be offset by the hardness of the zinc and vice 
versa, resulting in a paint having the virtues of both and the 
objections of neither, hence greater body and opacity, better 
ease of working and spreading, more absorption of oil and 
greater durability. 

After much experimenting this was accomplished, and 
this combination in the right proportions has for some time 
been recognized generally and highly endorsed by the most 
reputable paint authorities as possessing best paint qualities. 
However, the method of mixing is also of utmost importance. 
For instance, straight carbonate of lead (white lead) alone with 
straight zinc oxide does not give as high efficiency and as 
thorough incorporation as is the case when a certain percent- 
age of the former is combined in the form of sulphate of lead, 
the proportions again being an essential factor. This is where 
accurate laboratory formulae and accurate measuring of each 
ingredient by weight is of the greatest value in producing the 
best possible paint. Also, the manner and thoroughness in 
which these ingredients are mixed together and balanced, are 
of utmost importance and it is only natural that this can be 
done much more thoroughly by machinery than by hand. 

The foregoing deals principally with the pigment portion 
of the paint, but the liquid portion (or vehicle) is also of equal 
importance. The first essential of linseed oil is, of course, to 
carry and suspend the pigment in such a way that the mass 
may be perfectly fluid until and during the process of appli- 
cation, after which it has a much more important task to 
perform. Linseed oil supplies the gloss and is the very life 
of the paint. It is the oil which fills the pores of the wood 
and it is the oil which sticks to and grips the surface in a 
tough, tenacious, waterproof film. It must harden and act 
as a binder to hold the pigment intact on the surface, yet be 
elastic and weather-resisting. For these reasons it is neces- 
sary that the best linseed oil be used in sufficient proportions. 

SWP (Sherwin-Williams Paint, Prepared) is a correct 
combination of oxide of zinc, carbonate of lead, sulphate of 
lead and pure linseed oil, with the necessary turpentine and 
drier. These materials are all of the highest quality and are 
intelligently and scientifically handled so as to give the maxi- 
mum paint value in each can and color. 

[ Page 24 ] 



Brushes 

The Kind to Use and How to Use Them 

Good brushes, and the right kind of brushes, are very- 
necessary for good results. A poor brush often spoils an 
otherwise good job. It is practically impossible to avoid show- 
ing brush marks with a worn out or a stiff, hard brush. 

Brushes are made in many different sizes and shapes — 
flat, round, oval, square across the end, rounded, pointed 
and chisel shape. Each has its purpose. 

In selecting a brush, care should be taken to get one that 
fits the hand, so that it may be held easily, without slipping 
or quickly tiring the hand. 

In some brushes, the bristles are set in glue; in some they 
are set in cement and others in rubber. Generally speaking, 
rubber-set brushes are best. Glue-set brushes should never 
be left standing in water, as it loosens the bristles. Cement- 
set brushes should not be used in any finish that contains 
alcohol, such as shellac, as this will loosen the bristles. 

It is more than worth while to keep your brushes in good 
condition. Never stand brushes on end. When necessary 
to put brush down during the painting operation, lay it flat 
on a board or piece of paper. When through for the day, 
stand brush in a pail of water. With large heavy brushes 
a good way to do is to bore a hole through the handle and 
insert a loop of twine; and suspend brush by this loop from a 
stick laid across the bucket of water. 

When through with the painting operation, clean the 
brush out thoroughly. It takes only a little time to do this — 
but if allowed to get hard, it takes a long time to get the 
brush in good shape again. Much of the pleasure of painting 
is to be able to go to the brush-keeper and at once get a good, 
clean brush whenever it is desired to do a little painting. 

To clean brushes, use turpentine, benzine or gasoline. A 
varnish or enamel brush should never be cleaned in anything 
but turpentine, and a shellac brush should never be cleaned 
in anything but alcohol (denatured). After the brushes have 
been well cleaned with the turpentine, benzine, alcohol, etc., 
they should be washed in soft water and soap and dried with 
a cloth. S-W Flaxoap is most convenient for this. After 

[ Page 25 ] 



brush is clean it should be put away in a paper bag to keep it 
from the dust. 

Another method extensively used is to stand the brushes 
in a mixture of half turpentine and half raw linseed oil. A 
tack should be placed near the top of brush handle and the 
brush suspended by the tack from edge of the pail or other 
receptacle used as a "brush- keeper." This will keep the 
brush from standing on the bottom of pail and curling up the 
bristles. Enough turpentine and oil should be placed in the 
pail to cover the bristles. 

A small wooden box should be placed over the pail of brushes 
to serve as a cover and keep the dust out. When this method 
is employed, the liquid in the pail must be renewed at intervals, 
as it will eventually evaporate and allow the brushes to 
harden. Brushes, with the exception of glue-set ones, may 
also be kept standing in water, if the water is replenished 
often. 

If brushes have become hard, they should be kept in 
turpentine a day or so to soften the paint. Then work them 
back and forth on an old board, and put back into the 
turpentine again and work some more, if necessary. If 
it does not readily soften the brushes, stand them in S-W 
Taxite, paint and varnish remover, or in heated vinegar. 
(Never put a glue-set brush in vinegar.) 

All brushes will usually shed a few bristles at first, but in 
good brushes these as a rule are only the loose ones; and 
may be worked out in a few minutes by dipping brush in the 
paint and brushing it on an old board. 



[ Page 26 ] 



Some Painting ''Don is'' 

Don't leave paint uncovered over night. 

Don't leave brushes in paint, stain or varnish. 

Don't thin paint or clean brushes near a flame. 

Don't fail to stir paint thoroughly. 

Don't paint on a hot surface. In the Summer follow the 
shade and in the Spring and Fall follow the sun. 

Don't use cheap brushes. It is poor economy. 

Don't use a new brush on a finishing coat. Break it in on 
the priming coat. 

Don't jam a brush into corners. It will spoil the brush. 

Don't put a bristle brush in lime or any compound con- 
taining lime. 

Don't use a paint brush as a duster. 

Don't keep brushes when not in use in a hot or dry place, 
as shrinkage of the block will cause the bristles to loosen and 
come out. 

Don't forget that varnish brushes should be cleaned with 
turpentine. 

Don't forget that shellac brushes should be cleaned with 
alcohol (denatured). 

Don't neglect to cover all knots or sappy places with 
shellac before starting to paint, or the resin from the wood 
will spoil the paint. 

Don't neglect to putty all nail holes and cracks ajler prim- 
ing coat has been applied. 

Don't apply thick coats, especially the priming coats. 
Don't apply new paint over blistered paint without scraping 
or burning off the old finish. 

Don't start painting until all broken and leaky gutters, 
downspouts, etc., have been repaired. 

Don't forget that "elbow grease" must be used to spread 
any paint out into thin coats and to brush it well into the 
pores of the wood. 



[ Page 27 ] 



Helpful Suggestions 

To Remove Paint From Windows 

To remove paint and varnish from window panes or other 
glass surfaces, use hot acid vinegar, or for a more simple 
method apply S-W Taxite, paint and varnish remover, to 
soften the paint, then scrape or wipe it off. 

It may also be scraped off with a safety razor blade without 
the application of any softening agent. 

How to Get Paint or Varnish Out of Clothing 

Fresh paint, varnish or enamel may be removed from 
clothing or rugs with benzine, turpentine or gasoline. Saturate 
a cloth and rub the spot hard. It is a good plan, wherever 
possible, to place a piece of blotting paper under the spot — 
it will absorb the fluid and prevent it from spreading beyond 
the spot. 

For very fine garments it is generally best to use alcohol. 

If the paint or varnish has become dry, soften it with 
Taxite, paint and varnish remover, which will not injure 
clothing. After softening, remove the paint with one of the 
fluids indicated above. 

Care of the Hands 

Housewives will find it a good idea to rub a little vaseline 
on the hands before starting to paint. The vaseline keeps 
the paint or finishing material from penetrating the skin. 
After painting, any paint on the hands may be very quickly 
removed by washing the hands with turpentine, then washing 
with soap and water. 



r Page 28 ] 



Chapter IV 

Estimating 

IN this chapter we are giving general information about 
estimating the quantities of various painting materials 
required for all ordinary home surfaces, exterior and in- 
terior. The covering capacity of all principal Sherwin- 
Williams Products for home use are also given. It must be 
kept in mind, however, that this information can only be 
approximate, as no two surfaces are ever exactly alike in 
composition and condition, and no two individuals ever 
spread paint in exactly the same way, some using more and 
some less material for the same job. 

Exterior Estimating 

No set method of estimating can be correct in every 
detail, as allowances must be made for a varying number of 
bays, gables and other projections, also for the difference in 
absorption of various surfaces, as well as how thick or thin 
the paint is applied by the individual doing the work. By 
observing the follow^ing directions, however, anyone should 
be enabled to obtain a fairly close estimate of the quantity 
of material necessary for exterior painting on the average 
surface. 

Body of Building 

To ascertain the number of gallons for body of building, 
measure the distance around the building and multiply by 
the average height. This will give the number of square 
feet to be painted. Divide this by 360, the number of square 
feet SWP (Sherwin-Williams House Paint) will cover, two coats 
to the gallon on the average surface, and the result will 
approximate the number of gallons needed for the body of 
the building. 

For the trimming, cornices, etc., of the average type of 
house, allow one-sixth as much SWP as is required for 
the body of the building. 

[ Page 29 ] 



Blinds 
If the house has blinds, allow about 40 square feet of 
surface for the average pair of blinds. Multiply the number 
of blinds by 40 and divide by 360 to ascertain the number 
of gallons needed for all blinds, two coats. 

Porch Ceiling 
If the porch ceiling is to be painted with SWP, multiply 
its length by its width, which will give its area and divide 
by 360 to give the number of gallons needed for this surface, 
two coats. If to be finished natural, to estimate the number 
of gallons of S-W Rexpar Varnish needed for two coats, 
divide by 275 (covering capacity of Rexpar, two coats). 

Porch Floors and Steps 

For the floor, multiply the length by the width and divide 
by 360, the number of square feet S-W Porch and Deck 
Paint will cover, two coats to the gallon. 

For the steps, ascertain the square feet of surface in one 
step, multiply by the number of steps, then divide by 360. 

Exterior Doors 
Exterior doors of average size which are to be painted 
require about one pint of SWP. Doors which are to be 
varnished require about one pint of Rexpar; if new doors of 
oak or other open grained wood, one pound of Paste Filler 
will also be required. 

Shingles 

Shingled roofs to be stained with S-W Preservative Shingle 
Stain, treated in the usual way with one dip coat and one 
brush coat, may be estimated by multiplying the length 
of the house by its width, and adding one- third of that amount 
which will give the approximate area of an average roof, 
then divide by 100 (covering capacity in square feet of Pre- 
servative Shingle Stain, one dip coat and one brush coat to 
the gallon). If there are any gables, the area per gable may 
be ascertained by multiplying the length of the rafters by 
one-half the distance from the cornice to the peak. 

For restaining an old roof which has been previously 
stained, for which one brush coat is usually sufficient, the 
approximate covering capacity is considered to be 150 square 
feet per gallon, one brush coat. 

[ Page 31 ] 



Table of Covering Capacity of Sherwin-Williams 
Products for Exterior Use 

{Approximate on Average Surface ) 

SWP (House Paint) 360 square feet per gallon, two coats 

100 square feet per gallon, for one dip 
coat and one brush coat. 150 
square feet per gallon for one 
brush coat only. 



S-W Preservative 

Shingle Stain __ 
S-W Carbolic-ol 

Shingle Stain 

S-W Porch and Deck 

Paint 360 square feet per gallon, two coats 

S-W Rexpar Varnish__550 square feet per gallon, one coat 
S-W Concrete Wall 

Finish 300 square feet per gallon, one coat 

S-W Commonwealth 

Barn Paints 500 square feet per gallon, one coat 

S-W Roof and Bridge 

Paint 600 square feet per gallon, one coat 

S-W Metalastic 800 square feet per gallon, one coat 

Interior Estimating 

In estimating the amount of materials required for in- 
terior decoration, it is necessary to figure each room separately. 
The following estimates are based on average conditions, but 
it should be remembered that the covering capacity of all 
painting materials will vary according to the surface on which 
they are applied; a rough plaster wall will require more than 
smooth plaster, a soft porous plaster will absorb more than 
a hard plaster, etc. 

Ceilings and Walls 

To determine the quantity of S-W Flat-Tone for three- 
coat work on the ceiling, multiply the length by the width, 
which gives the square feet of ceiling area. Divide this by 
the number of square feet Flat-Tone covers per gallon on the 
type of surface to be painted, as shown in the Table of Interior 
Covering Capacities on pages 34 and 35. 

The quantity of Flat-Tone required for three-coat work 
on the walls can be estimated in the following manner : Multi- 
ply the distance around the room by the height. This gives 
the number of square feet of wall space. Subtract from this 

[ Page 32 ] 



20 square feet for each window and 21 square feet for each 
door. Divide the total number of square feet by the number 
of square feet Flat-Tone will cover three coats to the gallon 
on the type of surface to be painted. 

On new work, the first coat of Flat-Tone should be mixed 
with Flat-Tone Mixing Size in the following proportions : 

Sand finish plaster, 

or any porous plaster Equal parts Flat-Tone and Flat- 
Tone Mixing Size. 

Smooth hard plaster 1 part Flat-Tone Mixing Size to 3 

parts Flat-Tone. 

A simple method to estimate the quantity of Flat-Tone 
Mixing Size required is as follows: Add the total number 
gallons of Flat-Tone needed for all coats, walls and ceiling. 
Divide this by 4 for sand finish or porous plaster, or by 6 for 
smooth hard plaster. The result will give the number of 
gallons of Flat-Tone Mixing Size needed for the job. This 
is to be used for the first coat only, and is to be added to 
Flat-Tone in the proportions indicated above. 

Woodwork 

In a room of average size (about 12x15) there is usually 
the following woodwork: 

2 doors (21 square feet each) 42 square feet 

Baseboard {}4 foot high) 27 square feet 

3 windows (20 square feet each) 60 square feet 

Total 129 square feet 

The distance around the room multiplied by the height of 
the baseboard gives number of square feet in the baseboard. 
Should the surface be finished natural by applying a coat of 
shellac and then two coats of Scar-not Varnish, the procedure 
will be as follows in estimating: Divide the square feet of 
woodwork by 500 (covering capacity per gallon for one coat 
of shellac) which will give the number of gallons of shellac 
necessary. Multiply the square feet of woodwork by 2 (for 
two-coat work) and divide by 500 (covering capacity of 
Scar-not to the gallon), the result giving the number of gal- 
lons of Scar-not Varnish needed. To determine the number 
of gallons of stain required for woodwork, divide the area of 

[ Page 3Z 1 



the surfaces to be treated by 500 (number of square feet 
Handcraft Stain covers to the gallon). If filler is to be esti- 
mated, divide the area in square feet by 40 (which will desig- 
nate the number of pounds needed). 

For a white enamel finish — to ascertain the quantity of 
undercoater required, divide the number of square feet of 
woodwork by the number of gallons covering capacity of the 
undercoater to be used, as shown in the following Table of 
Covering Capacities. To ascertain the quantity of enamel 
required for the finishing coats, divide the number of square 
feet of woodwork by the number of gallons covering 
capacity of the kind of enamel to be used. 

Floors 

If floors are to be finished natural, three coats of Mar-not 
should be used. Multiply the area of the floor (length times 
width) by 3 and divide by 550 (covering capacity Mar-not 
one gallon one coat). 

To estimate for floors to be stained, divide area of floor 
by 500 (number of square feet Handcraft Stain and Handcraft 
Stain Reducer cover per gallon) which will give the number 
of gallons required. 



Table of Cover mg Capacities of Sherwin-Williams 
Products for Interior Use 

(Approximate on Average Surface) 

S-W Flat-Tone 

On sand finish walls 1 200 square feet per gallon, three coats. 

On very porous [ (For two-coat work, figure 300 

smooth walls J square feet two coats to the gallon.) 

On hard, smooth 

plaster walls 250 square feet per gallon, three coats. 

(For two-coat work, figure 350 
square feet two coats to the gallon. 

(Above covering capacities for Flat-Tone are based upon 
the addition of Flat-Tone Mixing Size to the first coat, in the 
proportions directed on the preceding page. Do not deduct 

[ Page 34 ] 



from the amount of Flat-Tone indicated above on account 
of adding the Mixing Size.) 

On walls previously 

painted 250 square feet per gallon, three coats. 

(For two-coat work, figure 350 
square feet two coats to the gallon. 
S-W Flat-Tone System 

(Glaze Color) 750 square feet per gallon, one coat. 

S-W Flat-Tone Multi 

Color Effects One quart of paint for each stipple 

color to a room 12 x 20. 
S-W Old Dutch 

Enamel 350 square feet per gallon, one coat 

S-W Enameloid 400 square feet per gallon, one coat 

S-W Enamel 400 square feet per gallon, one coat 

S-W Enamel Under- 

coater No. 12 400 square feet per gallon, one coat 

S-W Old Dutch 

Enamel Undercoater400 square feet per gallon, one coat 
S-W Inside Floor Paint250 square feet per gallon, two coats 
S-W Floorlac, Colors _225 square feet per gallon, two coats 
S-W Floorlac, Ground- 225 square feet per gallon, two coats 
S-W Concrete Floor 

Paint 250 square feet per gallon, two coats 

S-W Handcraft Stain__ 500 square feet per gallon, one coat 

S-W Oil Stain 600 square feet per gallon, one coat 

S-W Acid Stains 500 square feet per gallon, one coat 

S-W Mar-not Varnish _550 square feet per gallon, one coat 
S-W Scar-not Varnish. 500 square feet per gallon, one coat 
S-W Rexpar Varnish. _550 square feet per gallon, one coat 
S-W Velvet Finish 

Varnish 450 square feet per gallon, one coat 

S-W Mission-lac 600 square feet per gallon, one coat 

SW Shellac 500 square feet per gallon, one coat 

S-W Paste Filler 40 square feet per pound 

S-W Prepared Wax 125 square feet per pound, one coat 



[ Page 35 ] 





Ill III 

Jll 

I ill! I 




The Lillle Gray (Uillafje 



Who would think that this nook of the woods could be made 
so interesting? iVnd yet this little dwelling is equally at home 
in the more open spot. It is low and rather rambling and 
nestles quite cosily down amongst the trees. The gray 
shingles should not be painted but finished in a preservative 
stain which will retain all the texture of the rough sawn 
cedar. The ivory white trim is responsible for the clean ap- 
pearance of this color scheme. 



S pec ifical ions on page liG 



Chapter V 

Individual Treatment in Exterior Painting 

IT seems that the subject of painting, the correct colors 
to combine and the right type of paint to use all form a 
topic which worries the average home owner, even though 
the principles involved are few and simple to understand. 
Obviously the paint most economical to use is that which 
is made of the best quality materials intended for each surface 
to be protected. We hope, also, that the reader, after reading 
the preceding chapters, is thoroughly convinced that it is 
essential to have these paints applied by a person who knows 
how or who is willing to study our instructions and will follow 
these directions faithfully. This is, of course, the mechanical 
end of the job. 

We will now try to discuss briefly, and in an interesting 
way, the principles governing the selection of the colors to 
use to produce certain desired results. 

Almost every one has a certain inherent sense of propor- 
tion and a feeling of what is appropriate, which should guide 
him in painting his home. The house should first be con- 
sidered as to its setting. Is it conspicuously located in a 
prominent, open spot, or is the building partially hidden by 
abundant trees and shrubbery? Also are there neighboring 
houses pressing in close upon it, or does it stand alone .^* One 
must always keep in mind the relation each house, bears to its 
neighbors on the street. Many people paint in white simply 
because it has become a fad and because there is no difficulty 
in choosing colors. How unpleasant a sight it is, however, to 
come to a row of houses, once white, but now grown shabby 
through the combined action of smoke and grime and weather. 
How much better to have used a combination in color which 
would have still retained enough interest through color con- 
trast to make the soil less noticeable 

One still sees an occasional blue or pink house or some 
atrocious shade of yellow or green, but this and the other 

[ Page 37 ] 



alternative just mentioned can be easily avoided. If you 
do not find it easy to make the decision yourself or do not 
trust your own judgment, a letter addressed to the Depart- 
ment of Decoration, The Sherwin-Williams Co., 601 Canal 
Road, Cleveland, Ohio, will always bring the desired 
assistance, without charge. 

Do not take it that we mean that white should never be 
used. Quite the contrary. There are certain homes, such as 
the small cottage, which are better in white than in any 
other treatment. Then too, by using a fine gloss white, such 
as SWP, the house can be washed down every year with 
Flaxoap and water, renewing the clean appearance. This 
practice has become very general in the downtown districts 
of our big cities, where even the white tiled buildings soon 
become grimy. 

The Prominent Location 

Generally speaking, the building situated in the conspicu- 
ous plot appears best in the most simple treatment. Neutral 
grays or drabs, with lighter gray or ivory white for trim, are 
very satisfactory. If there is much ornament or grill work, 
render this in the body color so as to keep it less noticeable. 

Where there are plenty of trees and shrubs, light colors 
are advisable for both the large and the small house. But 
where the building is unsheltered by trees the use of stone 
color or warm drab or gray will avoid the bare look that a 
brighter color would give. 

The House with Close Neighbors 

While it is possible to use brighter, cleaner colors in 
neighborhood painting, good judgment must be exercised in 
the work. Where one house is painted in a bright yellow, for 
instance, its next door neighbor should not be in a bright green 
nor should it be in too dark a brown, just to be different. 
A cream gray body color with ivory white trim and green roof 
would cause both houses to appear best. Where the house 
under consideration is situated between two buildings in 
strong colors, a neutral tone is required and if a shade or tint 
of the strong adjoining colors can be used for either the trim 
or roof color of the middle house, a "color bridge" will be 
formed that will bind the three in harmony and make every 
one improve in appearance. 

[ Page 38 ] 



How Color Influences the Appearance of Surfaces 

The idea of color cannot be disassociated readily from 
some surface to which it is to be applied. And just to the 
extent that any color is warm and expanding in effect, or cold 
and contracting, aggressive or receding, is that surface affect- 
ed to which the color is applied. 

Light warm colors, tints and shades of yellow, make sur- 
faces appear larger. Dark colors tend to make the surface 
appear smaller. 

Light gray or green do not seem to change a surface 
appearance to any extent. Bright warm colors, containing 
red or orange, make a surface seem nearer to the eye than 
the medium, neutral or cold colors such as dark gray or dark 
green, especially a blue-green. 

A practical application of this principle is used in painting 
the pillars of the porch. A yellow body color, for example, 
with dark green trim, requires the pillars in the yellow rather 
than the green so they will hold their place out nearer the 
eye and preserve the architectural and structural value of the 
building. 

The Small House 

As a rule, light warm colors like SWP 496 Ivory, 
462 Cream, 387 Canary Yellow, 470 Golden Yellow, 385 
Straw or 485 Warm Drab are suitable for the small house, as 
such colors will make any building appear larger. 

Neutral Colors 
Light colors which are not warm, such as SWP 354 Sea 
Green, 360 Cream Gray, 479 Pearl Gray or 357 Silver Gray, 
are especially pleasing for a building which is not surrounded 
with trees. These colors, too, will harmonize with practically 
any color on the neighboring house. 

The Large Building 

The dark warm colors, of which SWP 393 Tobacco Brown, 
388 Modern Brown, 486 Golden Brown, 499 Antique Brown, 
382 Rich Maroon are good examples, produce best results on 
the larger buildings where it is necessary to employ colors 
which will not be affected by smoke and dirt and where the 
foliage is not too dense to produce too dark an effect. 

The darker, so-called cold colors, as SWP 353 Light Lead 
Color, 363 Slate, 362 Crown Green, 355 Sage Green, 498 

[ Page 39 ] 




A Happy Trealmeut for the Dutch CoJonial House 



Much of the charm of this simple l)ttk> liome is due to 
the effective manner in which advantage lias been taken of 
the natural surroundings. The little Dutch garden in the 
foreground provides color which makes one appreciate the 
clean combination of ivory and willow green all the more. 
Bright color has been introduced in the ])orch curtains and 
border flowers. Placing the living porch away from tlie front 
door affords greater privacy. 

S pec ijical ions on page I'lS 



Moss Green, are suitable for large buildings not surrounded 
with foliage and the roofs of which are covered with slate or 
other dark gray material. 

Surroundings and conditions vary, however, and the large 
building may be painted in as light a color as Cream and the 
small bungalow cottage in as dark a tone as Modern Brown. 

The Trim Color 

The trimming is important in the architectural plan of the 

building and is even more so in the painting plan, because 

with the manipulating of the trim color it is frequently possible 

to modify the appearance of the house to a considerable extent. 

The Tall, Narrow House 
This house can be made to appear lower and broader by 
keeping the body in a light tone such as SWP 496 Ivory, 
using a dark contrasting color for trim, such as SWP 
388 Modern Brown. A two-color treatment is also effective, 
using the darker color for the upper portion with the roof 
similar in color. Such a combination would be: Lower Body 
Color, SWP 375 Colonial Yellow. Upper Body Color, SWP 
499 Antique Brown. Trim Color, SWP 486 Golden Brown. 
Following are a few illustrations of typical homes with 
color recommendations suitable for each type : 

This dwelling gives a pleasing appearance of neat com- 
pactness which furnishes the key to the painting treatment. 

This is a decidedly well- 
groomed house and the owner 
should keep it so. 

The shingles may be either 
brown or green, but the entire 
upper part of the house, includ- 
ing the roof, must be in the 
same color. 

The lower body and trim 
are best in one color, either 
SWP 496 Ivory, or SWP 471 White. SWP 355 Sage Green 
is an attractive color to use for sash. 

The hard line of the foundation really ought to be broken 
by planting such formal shrubbery as dwarf evergreens, blue 
spruce, etc. 

[ Page 41 ] 




The Stuyvesant 




Thr Lenox 



This is a most practical and liveable type of home and is 

being used extensively. Treated 
in white this house needs bright 
green, such as SWP 461 for 
the shutters and S-W Shingle 
Stain Green C-74 for the shin- 
gle roof, also plenty of foliage 
to lend color. This is, of 
course, an ideal scheme for the 
house in the suburbs or in the 
country. Only too often, how- 
ever, does one see this house painted all in white in neigh- 
borhoods exposed to smoke and dirt. In the city this all- 
white house rapidly becomes soiled, and, unless washed down 
with Flaxoap and water every season, soon looks shabby. 
The use of color then becomes advisable. 

SWP 375 Colonial Yellow, with white trim and Shingle 
Stain Green C-72 or Red- Brown B-41 roof is excellent. 

SWP 479 Pearl Gray, with white trim and Shingle Stain 
Green C-72 roof makes a splendid clean gray scheme. Both 
effects provide color interest. 

We have seen many of these homes painted solid in SWP 
496 Ivory, with shutters and sash done in SWP 355 Sage 
Green, which were very pleasing. 

The color scheme for this dwelling should be selected with 
care so as not to produce a 
broad, squatty appearance. 
The all-white treatment is not 
recommended. Yellow body 
color, too, being an expanding 
color, would increase the ap- 
parent size and width unless 
some dark color is u.sed for 
trim, such as SWP 498 Moss 
Green or SWP 388 Modern Brown, 
would be the best yellow to use. 

In this house all vertical lines should be emphasized and 
in homes similar to this all superfluous horizontal lines should 
be disregarded, that is, should be painted in the body color, 
as doing them in the trim color would create a broader 
appearance. 




The A lander 



SWP 387 Canary Yellow 



[ Page 42 ] 







This scheme is recommended: B.ody Color — SWP 357 
Silver Gray. Trim Color — White. 

Using a light shingle stain for the roof such as our C-74 
and keeping the gable in a light color — same as the body — 
will add to the apparent height of the house. 

The outstanding feature of interest in this house is the 

architect's handling of the roof. 
This has been brought down 
low in the front so as to pro- 
duce a feeling of snug coziness 
usually found only in the 
small cottage. The roof occu- 
pies a large part of the space 
one sees when viewing the 
The Ingram buildiug and should be kept 

light in tone so as not to contrast sharply with the body 
color. A light translucent stain will also preserve the variety 
of color and texture of the shingles. 

Should this building be constructed with weatherboarding 
the tall gable should be rendered in either stucco or shingles 
to avoid producing a tall ungainly effect which the house 
design itself really does not have. 

This scheme is recommended: Roof — S-W Preservative 
Shingle Stain Light Brown, 0-44. Body — S-W Concrete 
Finish Cream. Trim and Sash — SWP 499 Antique Brown. 

The prototype of this inter- 
esting dwelling is the half- 
timbered English cottage with 
the thatched roof. To carry 
this effect through success- 
fully, keep the shingles light 
in tone — Brown B-44. Stain 
the timbering a weathered 
brown, B-47 and finish the 
stucco in soft shades of cream or extra light gray. Sash, 
SWP 388 Modern Brown. Many houses of this type are 
built today, using tapestry brick for the lower story. The 
use of brick adds much interest in both color and texture. 
Rough shale tapestry brick in varied tones of reds, browns and 
dark grays are ideal. The joints should be raked. 
[ Page 43 ] 




The Marian 




The Renwnod 



The casual observer might say that this and the following 

house could be painted in a 
similar manner, both having a 
central entry, a division be- 
tween first and second stories, 
etc. There are characteristic 
architectural details, however, 
which make the one a mod- 
ern American type and the 
other a development of an 

English type, so that individual treatment is necessary. 

One's first impression of this home is that while siding 

could be used both up and down it is much better with 

shingles for the upper body because with this treatment 

more interesting variety of color and material texture is possible. 
To paint the siding of this rather broad house in upper and 

lower colors would be to cut it in two and make it look too 

broad. It may seem strange, but one can have a shingle 

upper body in a different tone without causing this effect, 

due to the difference in texture. 

This scheme is most satisfactory: Roof — ^Shingle Stain 

Dark Green C-72. Upper Body — Shingle Stain Light Gray 

C-82. Lower Body and Sash — SWP 496 Ivory. 

Shutters — SWP 498 Moss Green. If the house is already in 

siding: Roof — Shingle Stain Dark Green 0-72. Body — 

SWP 357 Silver Gray ; or Roof —Shingle Stain Red-Brown B-41. 

Body— SWP 387 Canary Yellow. Trim— SWP Gloss White. 

Shutters— SWP 498 Moss Green. 
Unquestionably, the second 

story of this English dwelling 

must be done in shingles. The 

lower body is equally necessary 

to be rendered in stucco in 

order to preserve its character. 

By using soft browns or grays 

of shingle stain the truly 

interesting texture of the two 

building materials can be brought out. 

This scheme is in browns : Roof — Shingle Stain B-47 (a nut 

brown); Upper Body — Shingle Stain B-44 (a soft light brown) ; 

Lower Body and Bays— Concrete Finish Cream; Trim and 

Sash— SWP 499 Antique Brown. 

[ Page 44 ] 




The Kirlley 




The Piedmont 



An alternative choice in gray and green: Roof — Shingle 
Stain Dark Green C-72,; Upper Body — Shingle Stain Light 
Gray C-82; Lower Body and Bays — Concrete Finish Light 
Gray; Trim and Sash— SWP 496 Ivory. 

One likes this cottage because the design is simple and sin- 
cere, so the painting treatment should carry out this idea. 
While the all-white scheme is 
appropriate, especially for the 
country or suburbs, the correct 
use of color gives much better 
and more practical results. 
SWP 387 Canary Yellow with 
white trim and Shingle Stain, 
either Green C-74 or Red- 
Brown B-41, for the roof will 
stay clean and attractive for 
a much longer time than white. SWP 357 Silver Gray, or 
SWP 479 Pearl Gray, are excellent, with white trim and 
green roof. Shingle Stain C-7''2. 

SWP 496 Ivory is a much better one-color treatment than 
white and SWP 355 Sage Green or SWP 461 Willow Green 
for sash will give color interest. 

The intelligent use of permanent shrubs, such as dwarf 
evergreens, will greatly enhance the appearance of both house 
and yard. 

How To Secure Blue Prints 

Working Drawings of the Homes Shoivn in (his Chapter 

While the Sherwin-Williams Company does not maintain a 
Service Department for supplying blue prints and working 
drawings of the preceding illustrations shown in this chapter, 
the designers of these homes have extended us the courtesy 
of permitting us to show them and any person wishing to 
secure the blue prints and working drawings may do so upon 
fulfilling the regular requirements made to their customers 
direct. We are not in a position to quote you the prices on 
blue prints, but your request will receive prompt attention and 
you may expect to hear direct from the designers. Address 
your inquiry to The Sherwin-Williams Department of 
Decoration. 
[ Page 45 ] 




.1 Uospilahic I fall 

The hall gives one his first impression of a home, which 
should be one of cheerful hospitality. Cream walls provide 
an air of sunshine in even the darkest room, and in this hall 
one's first impression is one of warm sunshine. The comfort- 
able Windsor chair and glorious bouquet of golden-yellow 
flowers are evidences of thoughtful consideration provided for 
the friend who drops in for a moment's call. 

The blue vase makes the yellow flowers more ])leasing. 



Sperijicalioris on pane l-^i7 



Chapter VI 

Interior Finishing — Woodwork and 
Furniture 

IN this chapter we wish to take up, in a very informal 
manner, the discussion of the best and most effective 
ways of finishing and refinishing interior woodwork 
and furniture. 

Much of the work requires the services of a competent 
painter and finisher, but there are numberless jobs the 
owner can do himself which might otherwise be postponed. 
These miscellaneous jobs combine to make a home appear 
neat and tidy, and prompt attention and the application of 
the needed paint or varnish, may mean profit and quick 
action should the house ever be put up for sale. 

To Remove Paint or Varnish 

A prepared paint and varnish remover like Sherwin- 
Williams Taxite is most effective, both because of its quick 
action and because it does not burn, discolor or raise the 
grain of the wood as lye or soda will do. Taxite comes ready 
for use. 

Directions for Using Paint and Varnish Remoier 
Shake well before using so as to thoroughly agitate the 

contents. Apply a generous 

coat and allow to stand. After 

about five or ten minutes the 

paint or varnish will be found 

to have softened so that it can 

be removed readily with a dull 

putty knife. 

Note: It pays to take the 

precaution of covering all 

painted or varnished surfaces 

in the vicinity of the operation as, of course, any drops of 

Taxite touching such surfaces, will ruin the finish. 




Removing old paint roritinri ihiit haa hren 
softened with Taxite 



[ Page 47 ] 



Where the paint or varnish film is very heavy through 
repeated paintings or varnishings, a second or third applica- 
tion of Taxite may become necessary. 

Note — Mouldings, corners and other difficult parts to 
reach are most easily cleaned by scrubbing with a small 
vegetable brush, dipped in Taxite. After th^ bulk of the old 
coating is removed, wash the surface with a cloth or scrub 
it with a brush wet with Taxite to make certain there is none 
of the old finish left. 

Important — After the old material is removed, scrub 
thoroughly with benzine or gasoline to remove all remaining 
Taxite, as any remaining on the surface will prevent the drying 
of subsequent finishing coats; then sandpaper surface clean. 

Varnishing 

To refinish varnished surfaces which are in good condi- 
tion, first wash with Sherwin-Williams Flaxoap and water, 
rinsing thoroughly with clear water; sandpaper with 00 sand- 
paper and wipe with a cloth saturated with benzine or 
gasoline, then simply apply one coat of varnish as it comes 
from the can. If a polished or dull rubbed effect is wanted, 
follow directions given on pages 52-53. 

Note — For a dull rubbed effect without hand rubbing use 
Sherwin-Williams Velvet Finish No. iOUU. This varnish is 
designed to be used as a finishing coat over a varnish or shellac 
finish to give the effect of a dull rubbed finish. It dries dull 
without rubbing. 

If the surface to be varnished is in only fair condition, 
sandpaper thoroughly to remove all rough, uneven spots, 
then apply two coats of varnish, sanding the first coat lightly. 
The last coat may be left in full gloss or rubbed to a polish 
as desired. Treatment for varnish surfaces in very bad condi- 
tion follows: 

To Refinish Woodwork and Furniture Previously 
Painted or Varnished 
There are two methods of procedure. First, to clean the 
surface and start afresh; second, to cover the old finish with 
a solid color and to build the finish colors upon this. 

First Method, To Clean Off the Old Finish 
Apply a full coat of S-W Taxite, paint and varnish remover, 
over the entire surface to be cleaned (or as much as can be 

[ Page 48 ] 



conveniently worked at one time, if an entire room is being 
refinished) and proceed as directed on page 47. 

Second Method. (The second method is given on page 63.) 

Open-Grain Woods 

Open-grain woods such as oak, walnut, chestnut, mahogany, 
etc., will require refilling as the Taxite and scrubbing usually 
removes the filler as well as the finish. Filling the pores of 
the wood is necessary to level the surface for the finish coats. 

Mission Effect 
Of course, where a Mission finish is desired the filler is 
omitted. Apply a coat of S-W Handcraft Stain Fumed Oak, 
Weathered Oak, Green Weathered Oak or Cathedral Oak. 
Follow with a thin coat of pure White Shellac and finish with 
a coat of S-W Mission-lac or Velvet Finish Varnish No. 1044. 

Stain Precedes Filler 

When re-staining open-grain woods which are to be filled, 
the stain must precede the filler. Allow the stain to dry over 
night and the filler to dry forty-eight hours. See page 56 for 
directions on the use of fillers. 

Note: For staining refinished work a penetrating stain, 
such as S-W Handcraft Stain, is necessary, as a water stain 
or an oil stain is not able to penetrate the wood satisfactorily. 

Sealing the Stain 
Wood that has been stained should always receive a 
thin coat of pure white shellac (orange shellac only as specially 
indicated) before applying the varnish. Shellac seals in the 
stain which otherwise would "bleed" into the varnish and 
frequently even interfere with the drying of the varnish. 
This "bleeding" would cloud the finish, discolor the brush, 
and produce an uneven and spotted appearance in the finished 
job. Shellac which is too heavy should be reduced with 
denatured alcohol. 

Kind of Varnish to Use 

For furniture and all interior standing woodwork, use 
S-W Scar-not or Excello Varnish. 

For interior floors, use S-W Mar-not Varnish. 

For all out-of-doors varnishing, window sills and sash, 
always use S-W Rexpar or Kopal Varnish. 
[ Page 49 ] 




1 Lirinq-Boon} in Old Ivory, Hliir and Mulberry 



The simplicity of the wall treatment ])ermits the atten- 
tion to drop to the comfortable chairs and the full rich blue 
of the rug. The floor has been stained dark in tone to hold 
the scheme together and provide a feeling of repose and 
solidity. What a homey touch is furnished by the small 
bouquet of old-fashioned flowers — the invitation of the 
thoughtful mistress of this home that here one may sit down 
and refresh himself. 



Sprrijinitioiis mi piuj,' I 'iS 



Practical Varnishing Suggestions 

How to Apply Varnish to Get Best Results 
Never apply varnish with any but a clean brush. (See 

page 25 on how to care for brushes). On any work where you 

are particular as to the results, do as follows: 

Pour out about a half cup of varnish. Fill the brush full 

of this varnish and scrape it out over the edge of another 

cup. Repeat the operation, using up the half cup of varnish, 

and the brush should be in shape to give good results. 

This varnish may be strained through a cloth and can be 

used for some other bit of work where one doesn't require the 

cleanest material. 

Kind of Brush to Use 
A stiff bristle brush is suitable for use only on floors and 
should not be used for heavier bodied furniture varnish, as 
brush marks would show. A soft fitch or Russian oxhair 
brush is the best suited for furniture and woodwork. Use a 
two-inch chisel or oval brush for large surfaces such as table 
tops, door panels, baseboards, etc. An inch brush is very 
convenient to have ready for small mouldings, corners, etc. 
Remember that for all but the finishing varnish coats, thin 
applications of varnish are far superior to heavy coats. 

Use of Sandpaper 
Sandpaper each coat except the last, using 00 paper. 
Sand the entire surface, rubbing just enough to remove the 
gloss of the varnish and produce a smooth, even surface for 
the following coat. Rub with the grain of the wood. The 
scratches will show if you rub across the grain. 

Applying the Varnish 

The application of varnish to any surface may be divided 
into three operations. 

1st — Brushing the varnish on to the surface. 

Apply the varnish freely and quickly, brushing with the 
grain of the wood. 

2nd — Spreading the varnish out in an even film. 

"Lay off" the surface by brushing across the grain of the 
wood. Do this without refilling the brush, as this operation 
is intended to spread the varnish over any spots missed the 
first time and to produce an even film. 

[ Page 51 ] 



3rd — Removing the excess varnish. 

Wipe the brush on the edge of the cup to remove most of 
the varnish and then "straighten out" the surface by brushing 
with the grain of the wood, wiping the brush occasionally 
against the edge of the varnish cup so as to keep it fairly 
dry. When "laying off" and "straightening out" a panel, 
table top or any broad surface, always run the brush strokes 
to the edge without stopping. 

How to Produce a Rubbed Finish 
There are two types of rubbed finishes, the dull rubbed 
effect and the high polish. The first process uses powdered 
pumice-stone and rubbing oil. The second process calls for 
powdered pumice-stone and water, as will be described later. 
If your dealer handles more than one grade of powdered 
pumice, buy the best as it will cut faster and cleaner. 

The Dull Rubbed Polish 

Use a regular rubbing oil such as supplied by any good 

paint or hardware store, or any good sewing machine oil will 

do. Place the powdered pumice-stone in any convenient 

open dish and dip into this the cloth moistened with the oil. 

Rubbing Felt 
A heavy piece of rubbing felt one or two inches thick 

will be best and easiest to 
use, although a soft cloth 
formed into a pad will do for 
small jobs. 

How Much to Rub 
Usually only about six or 
eight strokes over each por- 
tion of the surface are neces- 
sary to cut the gloss and give 
a satisfactory dull finish. 
.\lwavs rub with the grain of the wood. 




Dish of powdered pumice, block icilh fell 
tacked on the ends, piece of heavy rubhinij 
fell, small vegetable brush for mouldings 



Note : 

Do Not Rub the Surface With Too Heavy a Pressure 
" The pumice and oil naturally soften the varnish some- 
what and too heavy a pressure will cut clear thrtjugh the 
film. When rubbing a table or a panel it is always best to 
do the entire length in one stroke, at least the last few strokes. 
This will avoid any possibility of a patchy appearance. 

[ Page 52 ] 



A Brush for the Mouldings 
Any mouldings, carving or relief work can best be reached 
by using a small vegetable brush moistened with the oil and 
dipped into the pumice. 

To Clean Off the Surface 
Wipe off the surface with a dry cloth, rubbing with the 
grain. Powdered corn starch sprinkled on the cloth will help 
dry up the oil. 

To Secure a High Polish 

Follow directions just given for oil rubbing except that 
water is used instead of oil. After the first rubbing with 
pumice-stone, wait a day and then rub with powdered rotten- 
stone and water for a high polish, and then give a final polish- 
ing with S-W Polish-ol. 

Pianos and fine furniture are usually finished off in the 
factory after rubbing with rotten-stone, by rubbing with the 
palm of the bare hand. 

Special Note: The rubbing of fine varnished or enameled 
furniture calls for the exercising of considerable good judg- 
ment, and the amateur is advised to have the piano or other 
expensive furniture refinished by a person who makes a 
specialty of such work. 

The Use of Stains in Interior Finishing 

To Stain New Wood 
There are three principal types of stains suitable for use 
on new woods: water or acid stains, penetrating or spirit 
stains and oil or pigment stains. Each type has its ad- 
vantages. 

Sherwin-Williams Acid Stains 

S-W Acid Stains provide the richest and most permanent 
wood dyes one can secure. 

Sandpaper the wood thoroughly before applying the stain. 
Some recommend sponging the wood first with water and then 
sanding the surface smooth when dry. Apply a full coat of 
the stain, using a soft brush. 

Note: Before applying any stain make a test sample on a 
piece of the same kind of wood to make sure of the color and 
intensity. Acid Stains may be diluted with water if a lighter 
tone is desired. Allow to dry over night and sand very lightly 

[ Page 53 ] 




A Dining- Room in Gray 



In this dining-room, found in an old Colonial country- 
home, a Spanish atmosphere is felt. The rounded door head, 
although really Colonial, gives very much the same impres- 
sion as the rounded arches in the Spanish mission — the gray 
wall suggesting adobe construction helps this. The strongest 
note, however, is in the deep maroon of the carpet, carried up 
to the solid back chairs, which might be done in Spanish 
leather or tapestry. 

Specificalions on page i'tS 



with 00 sandpaper, or finer, as the water in the stain will 
raise the grain slightly. Apply a second coat of stain if neces- 
sary because of the sanding. Brush over lightly when dry 
with very fine sandpaper or old worn sandpaper. 

S-W Handcraft Stains 

S-W Handcraft Stains are very satisfactory, producing 
clean, attractive tones which are very permanent. These 
stains have an advantage of not raising the grain of the wood 
and do not require sanding after staining. Handcraft Stain 
Reducer may be used to make these stains less intense if 
desired. Apply with a soft brush and allow to dry over 
night. 

S-W Oil Stains 

S-W Oil Stains are popularly priced and although very 
satisfactory for use on hardwoods, are especially satisfactory 
for pine and all soft woods, because of their type. 

S-W Oil Stains come ready to apply and should be brushed 
freely on to the wood and after standing for a few minutes to 
permit penetration, are to be wiped off with a soft cloth. 
The stained effect may be made lighter by wiping off sooner. 

The time for penetration required by different woods 
varies, even in different samples of the same wood. Roughly, 
oak requires about five minutes and pine two or three minutes. 
Allow to dry over night after wiping off. 

As stated elsewhere, fillers are necessary on open grain 
woods except for "mission effect." These fillers follow, the 
next day, directly over the stain (see page 56). Page 57 gives 
a description of special art effects to be produced over Acid 
and Handcraft Stains by using light colored fillers or toners. 

All stains require a sealing coat of pure white shellac as 
indicated under the subject of varnishing on page 49. (See 
color plates on pages 82 to 98 showing stain effects on various 
woods) . 

To Stain Re-Finished Wood Surfaces 

Clean the wood thoroughly with S-W Taxite (see page 47) 
taking special care to wash out as much of the old stain as 
possible. 

As there will still be some stain remaining in the wood, 
this must be reckoned with in re-staining, i. e., a wood pre- 
viously stained in mahogany should be stained either mahog- 
[ Page 55 ] 



any again, or in one of the darker browns such as Handcraft 
Stain Brown Mahogany, Brown Oak or Cathedral Oak. 
Note: S-W Handcraft Stains, because of their penetrat- 
ing qualities, are the only stains which are effective for refinish 
work. When once a wood surface has been stained and 
varnished, the porous quality of the wood surface is destroyed 
and the wood is seemingly filled up, so that a water stain or 
an oil stain cannot take effect. 

Woods previously stained in green will be best finished 
in either a green again, Handcraft Stain Bog Oak, or Weather- 
ed or Green Weathered Oak, as the green remaining would 
dirty up a brown or mahogany shade. These points are well 
to be remembered as a stain is a transparent dye and, of 
course, does not entirely hide the color or previous stained 
effect of the wood except in the very darkest shades. 

Previously finished wood in natural color does not present 
these difficulties, although the color of the wood may be darker 
and yellower than the original wood, due to aging, so that 
silver gray effects will not be as clean in tone as might be 
desired. 

Purposes and Use of Paste Fillers 

Open-grain woods such as oak, walnut, chestnut and 
mahogany require the use of a paste filler to fill the pores of 
the wood and level the surface for the application of the 
finishing coats. The close-grain woods such as maple, birch, 
pine, etc., do not require a filler. An exception may be 
made of birch. While birch is really classed as a close-grain 
wood, the use of a paste filler in connection with red and brown 
mahogany and walnut effects, helps bring out the beauty and 
character of the grain very effectively. 

The fillers most commonly used are divided into two classes 
— liquid and paste. Liquid fillers are usually quick drying, 
are brushed on to the wood and allowed to dry. A liquid 
filler does not really fill the wood, but rather coats it over with 
a shell of pigment and varnish or shellac. It does not impart 
a clear tone to the wood, and being brittle, is especially 
undesirable where the surface is to receive hard usage. A 
liquid filler is intended to furnish a quicker and cheaper 
method than the standard, but is not to be highly recom- 
mended. 

[ Page 56 ] 



NcUural 
Wood 



Filler 




Paste fillers come in paste form and require thinning 
with benzine to brushing consistency. S-W Paste Fillers 
are supplied in the following color 
effects: Oak, Antique Oak, Golden 
Oak (which stains as well as fills). 
Red Oak, Mahogany (a red-black). 
Walnut, and Transparent (does not 
change the color of the wood). 
Fillers always follow the stain, if 
a stain is used, although they are 
frequently used over the new wood 
— after sanding smooth. The filler 
does not require sanding. A paste 
filler serves two purposes: It fills 
the pores of the wood, leveling 
the surface for the varnish finishing 
coats which would otherwise sink 
into the hollow pores, causing a 
pebbled appearance. It helps bring 
out the beauty and character of 
the grain. Both floors and wood- 
work are frequently filled (omitting 
the stain) with a dark filler producing very pleasing effects. 

Directions for Use 

Thin to a creamy consistency with benzine an 1 apply to 
the entire surface. When the material starts to set, indicated 
by partial flatting out, wipe off by rubbing with a soft cloth, 
first across the grain; then wipe clean. This will remove all 
material except that which has entered the pores of the wood. 
Allow to dry for forty-eight hours before applying varnish. 

Handcraft System Effects for Interior Woodwork 
and Furniture 

These are unique art effects worked out over stained woods. 
Handcraft System Effects are practical only on open-grain 
woods, such as oak, chestnut, American walnut, etc. They 
are characterized by the use of a light colored filler, or toner, 
in place of the customary black or dark brown filler. An ex- 
ception to this classification, of course, is the use of Trans- 
parent Paste Filler for natural oak effects. These fillers are 
termed toners because they lend a different tone to the wood 

[ Page 57 ] 




Breakfast Room in Blue and Tan 



The breakfast room has come to be an institution in the 
American home. This is the chummy spot where the family 
gathers first thing in the morning. In order to start the day 
out right the breakfast room should furnish the needed 
stimulus in the form of clean, bright color, which should be 
in such refreshing combinations of tones as shown in this cut. 

The enameled furniture can be so easily cleaned and the 
cretonne curtains give the feeling of sunshine even on a gray 
day, that somehow or other the bacon and eggs taste better 
here than they would in the formal dining-room. 

Specijkalions oti piiqe I'i8 



over which they are applied. S-W Flat-Tone is the product 
most suited to this purpose. White, Silver Gray, Cream, 
Bright Sage and Cocoanut Brown are the colors most used. 
Handcraft System Effects are most effective over hew 
wood. Wood that is being refinished will take these effects 
satisfactorily, however, if the surface is scrubbed vigorously 
to remove any finish lodged in the pores of the wood. 

Directions for Use 

See that the wood is smooth and free from dirt and grease. 
Dirt may be cleaned off with sandpaper. Grease can be 
removed by washing with benzine 
or gasoline. It is advisable to brush 
the wood thoroughly with a regular 
wire brush before staining so as to 
open up all the pores of the wood. 
This will enable the toner to enter the 
pores and thus bring out the figure 
of the grain satisfactorily. Apply one 
coat of Handcraft Stain (or Acid 
Stain) the shade specified and allow 
to dry for twenty-four hours. Apply 
a thin washcoat of pure white shellac 
(shellac reduced 50 per cent with 
denatured alcohol). When the shel- 
lac is hard, brush on a coat of Flat- 
Tone in the color specified. Thin 
slightly with pure spirits turpen- 
tine. Allow this to set for a few 
minutes and then wipe the surface 
clean by rubbing with a soft cloth, 
first across the grain of the wood. Let this dry for twenty- 
four hours. Follow with a coat of Velvet Finish Varnish 
No. 1044. 

The following effects are recommended to be used with- 
out the coat of shellac over the stain: 




IValaral 
Wood 



Stain 

Thin wash 
coat of 
Shellac re- 
duced 50% 
IV ith 

denatured 
Alcohol 

Flat-Tone 
Toner 



Velvet 
Finish 
Varnish, 
No. iOM 



Effect No. 


Handcraft Stain 


Flat-Tone 


40 


Weathered Oak and Fumed 
Oak, equal parts 


Silver Gray 


41 


Weathered Oak 


Cream 


42 


Old English Oak 


Bright Sage 


4S 


Old English Oak 


Cocoanut Brown 


[ Page 59 ] 







For these effects allow the stain to dry for twenty-four 
hours and then apply Flat-Tone, wiping off as instructed pre- 
viously. This method allows the stain to "bleed" into the 
Flat-Tone Filler somewhat and produces a blurred and 
softer effect than where the shellac is used to seal in the stain. 

Dark colored w^oods, such as black walnut, may have a 
toner of Flat-Tone applied directly to the unstained wood, 
to be finished with a thin wash coat of white shellac and a 
coat of Velvet Finish Varnish No. 1044. Flat-Tone Silver 
Gray is a very satisfactory toner for black walnut. 

To Enamel Woodwork and Furniture 

New Work 

Probably in no other type of finishing is the importance 
of the preliminary coats and the preparation of the surface 
quite so apparent as in enameled finishes. Everyone's con- 
ception of enamel is that the finish shall resemble porcelain 
in brilliancy, smoothness and even surface as much as possible. 

Kind of Wood for Foundation 

Of all the woods, birch, because of its fineness and even- 
ness of grain, is best for enamel work. It is very hard and 
does not dent or bruise readily. Whitewood or poplar, 
white pine and well seasoned gumwood, come next. Such 
woods as yellow pine and cypress are not desirable because of 
their relatively high pitch content. Where it is necessary to 
enamel over these last named woods, it is advisable and good 
practice to seal the wood with shellac before proceeding with 
the undercoating. 

Open-grain woods such as oak are unsatisfactory for 
enameling. Where a piece of furniture in oak or some other 
open-grain wood has to be enameled to match other pieces, 
special treatment is necessary. Remove the old finish with 
S-W Taxite as described on page 47 and then fill the pores of 
the wood carefully, using S-W Transparent Paste Filler as 
directed on page 56. 

Greater care will be necessary in sanding each coat of 
undercoater smooth so as to avoid a rough or pebbly appear- 
ance. Whenever possible it is advisable to restain an oak 
piece in a color to harmonize with the other pieces. 

[ Page 60 ] 




Enameling Surfaces Requiring Complete Refinishing 

Remove the old finish with S-W Taxite as directed on 

page 47. Close-grain woods 
1^ ■ a need only to be cleaned and 

^^^^w sanded if rough. Open- 

grain woods require filling as 
just stated. Any wood which 

#^plfllWj' has been previously stained, 

1 I ! 1 1 /I especially in any stain con- 

taining a red dye, should be 
given an extra washing with 
S-W Taxite to remove all 
stain possible. The surface, 
of course, is to be washed 
with benzine as directed else- 
where in connection with Tax- 
ite. The wood should then be 
given a thin coat of shellac, 
as any particle of stain re- 
maining in the wood might come through any number of 
enamel coats, discoloring the finish. 

Directions for Enameling 
The process of enameling any surface consists first of 
building up the foundation with undercoaters and second, 
of applying the enamel finishing coats. The first is even more 
important than the second. 

Function of the Undercoater 

The undercoater has to provide a solid, opaque foundation 
which will thoroughly hide the wood surface, as the enamel 
itself is rather transparent by nature. 

For the undercoats use S-W Old Dutch Enamel Under- 
coater, S-W Enamel Undercoater No. 12, SWP Inside Flat 
White, S-W Flat-Tone or one of the several other excellent 
undercoaters we make for this purpose. The first coat should 
be thinned about ten per cent with pure spirits of turpen- 
tine on new work to satisfy the absorption of the wood 
and secure good penetration. On surfaces shellaced (pre- 
viously mentioned) thin only as necessary to work well. 

Second and third coats may be thinned slightly if 
necessary. 

[ Page 61 ] 




The fourth coat should consist 
of equal parts of the Enamel Un- 
dercoater and the Enamel in the 
desired color. The darker colors 
of enamel require the undercoater 
to be tinted to match the color 
of the enamel, although when using 
dark colors of enamel on reed or 
wicker furniture, the undercoater 
can frequently be dispensed with. 

The fifth coat should be the 
enamel as it comes from the can. 

Sandpapering 

Sandpaper each coat of under- 
coater carefully with 00 sandpaper. 
This is to remove any brush marks 
and put the surface in condition for 
the following coat. Rough sandpaper 
will scratch the film and show up in final effect. The final 
enamel coat may be left in the natural gloss or it may be 
rubbed to a dull finish with powdered pumice-stone and oil 
(see page 52) or use S-W Old Dutch Enamel, Dull. 

Kind of Brush 
The importance of using the right kind of brushes for 
enamel work cannot be over-emphasized. Probably one can 
learn only from experience the big difference in the way 
enamel and enamel undercoaters go on 
when applied with a stiff bristle brush 
or a soft fitch brush. It is next to im- 
possible to lay on these materials with 
a stiff brush without leaving ridges or 
brush marks. With the soft brush these 
marks can all be avoided. 

For enameling wide surfaces such 
as the panels of a door, a table or 
dresser top, use a two or two-and-a- 
half-inch brush. For narrow sur- 
faces, corners, etc., an inch-and-a- 
half brush will be very convenient 
(see page 25 for the care of brushes). 

[ Page 62 ] 




Oral brush for varnishing floors 
or enameliitq ivall; 2 Vi-inc/l 
flol Jitrh l>riish for broad panels; 
i-iiich lilch brush for smaller 
surfaces and general work 



How to Apply Enamel 

Brush the undercoater or enamel on to the surface 
freely and quickly, stroking with the grain of the wood. 
Then lay the surface off, that is brush the material 
across the grain of the wood. This will drag the color 
over any spot missed the first time and also help distribute 
the color in an even film over the surface. If there is too 
much enamel, this "laying off" will take up the surplus which 
would otherwise result in "sagging." Then with light strokes 
"straighten out" the surface by brushing with the grain of 
the wood. Unless the enamel has been used too heavy in 
body, this process will produce the smoothest possible job. 

Remember that in applying these materials it is necessary 
to move quickly, as any brushing into the surface after the 
enamel sets will result in a rough finish. 

Exercise special care to keep the brushes clean and also 
the surface to be finished. Where sandpaper has been used 
it will be necessary to dust off all fine, loose particles which 
always show up greatly magnified in the finished effect. 

Second Method of Re-Finishing Woodwork and 
Furniture 

The Sherwin-Williams Floorlac Process 
There are many surfaces about the house where either 
the condition or quality of the wood does not permit the use 

of a natural varnished finish 
or a stained finish, or where 
one doesn't care to invest the 
time and effort in this type of 
finish. Here are a few such 
surfaces: the old pine floor, 
badly marred and discolored, 
or perhaps previously painted; 
„, , . ; J „ ; , , ,, chairs and tables for the 

r loorlac is applied in ihe direiiton nl Ihe 

boards, not across them kitclieu, brcalvfast uook or 

veranda; old woodwork needing brightening up and a host 
of other surfaces found in every household. Sherwin-Wil- 
liams Floorlac, a combination stain and varnish product, 
is provided for just such purposes. 

Floorlac is made with Mar-not Varnish as a base in which 
are incorporated the best and most permanent dyes ob- 
tainable. 

[ Page 63 ] 





A Kilchen in Iron' mid Blue 



This is a simple room in which i)rovision has been made 
for ease in keeping every inch of space clean, sweet and at- 
tractive. The white enameled wainscoting and porcelain 
drainboards are both suggestive of cleanliness and are made 
doubly interesting by the checkered linoleum in blue and 
white. The walls and ceilings may be in either dull or gloss 
finish, as preferred. 



Specifications on page I 'i8 



--r!?^;-. 



Floorlac produces a stain and varnish effect in one opera- 
tion. It is frequently used directly over new wood such as 
unfinished tables and chairs, and is equally effective over 
objects varnished in the natural color. 

When applying Floorlac over surfaces previously stained 

and varnished, select a color 
of Floorlac similar to the 
old color, as Floorlac is 
transparent and the old 
color will show through 
somewhat, i.e., do not ex- 
pect to produce good re- 
sults with Floorlac Mahog- 
any applied over some 
green stained wood, etc. 
If such a change of color 
is desired it can be ac- 
complished, of course, but 
first cover the old color with two coats of Floorlac Ground. 




When Floorlac Ground is Needed 

One case has just been cited. Very often floors, woodwork 
and furniture are so badly marred and discolored that it is 
desirable to hide the old surface. Floorlac Ground is then 
applied (two coats) and Floorlac in the desired color applied 
over this. 

Grained Effects 

Very attractive imitation grain effects may be produced 
by applying over the ground color a coat of S-W Graining 
Preparation, graining it as applied by the use of a standard 
half-round graining roller and steel graining comb. The 
graining coat is to be followed, when dry, by Floorlac in the 
desired shade. 

Directions for Using Floorlac 

Stir contents of the can thoroughly before using. See that 
the surface to be finished is free from grease and dirt. 



New Woods 

Over new woods or surfaces in good condition, apply two 
or more coats of Floorlac, according to depth of color desired. 
[ Page 65 ] 



Old surface 




Coat of 
Floorlac 
Clear, or 
Mar-not 
Varnish 



Note: Sandpaper the original surface smooth and sand 
each coat lightly except the last, 
with 00 sandpaper. 

It is advisable to use Floorlac 
Clear or Mar-not Varnish as a 
finishing coat over Floorlac on 
surfaces receiving hard usage. This 
will prevent the surface wearing un- 
even and spotty in doorways, etc. 
When using Floorlac on floors, 
start at the edge of the room farthest 
from the door. Apply Floorlac over 
two or more boards width, as con- 
venient, and varnish these boards 
clear across the room. Then take 
the next few and continue in this 
manner over the entire surface. 
This will avoid lapping, which pro- 
duces unsightly spots. 
Old Woods 

Follow instructions just given 
except that two coats of Floorlac Ground are needed to hide 
the old color and prepare the surface before varnishing. Thin 
the first coat of Ground slightly with turpentine if necessary. 

A Painted Finish 

For a painted finish on interior surfaces of any kind, the 
only directions to be observed are: 

See that the surface is clean, free from grease, and ab- 
solutely dry. 

Be sure to stir paint thoroughly from the bottom of can 
immediately before using. 

Apply as many coats of the desired color as may be neces- 
sary to get a satisfactory finish. 

Should thinning be found necessary, follow the directions 
for thinning given on the label of the particular paint used. 

Brush evenly and with the grain of the wood. 

Never apply one coat before the preceding coat is thorough- 
ly dry. 

Write the Sherwin-Williams Department of Decoration 
should difficulties present themselves not covered by this 
chapter. 

[ Page 66 ] 



Chapter VII 

The Treatment of Floors 

NOTHING is more pleasing than a well-kept floor. It 
goes a long way toward giving a room a pleasant 
appearance and emphasizes the beauty of rugs, cur- 
tains, draperies, etc. On the other hand, a marred, shabby- 
looking floor detracts greatly from the appearance of the 
room, no matter how well it may be furnished. 

Floors deserve more particular attention than any other 
interior surface, as there is no part of the house where the 
wear and tear is so severe, or where there is so great an 
exposure to hard usage. The following pages tell how to 
finish floors properly and keep them beautiful and sanitary 
with least possible effort and expense. 

In finishing a floor, see that it is kept as free from dust as 
possible. Never apply a second coat of any kind without 
first carefully wiping up the dust with a cloth dampened with 
benzine or turpentine. Avoid doing anything that will tend 
to raise dust while the material is being applied; such as 
unnecessary tramping back and forth in the room being 
finished, or cleaning in one room while the finish is being 
applied in another. 

Fin ish in g New Floors 
Natural Varnished Finish (Hard or Soft Wood) 

Preparation of surface — Floors should be allowed to 
season about a month after being laid. They should then be 
scraped and sandpapered smooth with No. 3^ sandpaper. 
If floor is an open-grain wood (see explanation of open and 
close grain woods on page 56), a coat of S-W Paste Filler 
of the desired color should next be applied as directed on 
page 56 to fill up the pores (liquid fillers should never be used, 
as they are a poor substitute for paste filler). Close-grain 
woods do not require the use of a filler. 

[ Page 67 ] 




A Bathroom in Soft Sea (ireen 



Just to say, "This is a sanitary bathroom," sounds too 
prosaic. And yet this term describes this room so well; no 
inaccessible corners around the bowl or tub. The walls done 
in Flat-Tone and the woodwork and wainscoting, tile-like 
in their mantle of Old Dutch Enamel, so easily washed. 
Let the children splash to their heart's content — there is 
nothing they can damage. 



Specificalions on page 1U7 



Application of finish — After the surface has been prepared 
as indicated above, apply three coats of S-W Mar-not Varnish. 
The first coat should be thinned with one pint of pure spirits 
turpentine to each gallon of Mar-not, so that varnish will 
penetrate well into the wood. The following coats should be 
applied as the varnish comes from the can. Each coat 
should be allowed about 48 hours to dry before applying the 
next coat. All coats except the last coat should be sand- 
papered lightly with 00 sandpaper. 

If a fiat or dull finish is desired the last coat should be 
rubbed with pumice-stone and oil, pumice-stone and water, 
or steel wool, after it has been allowed to dry at least 48 
hours. 

Waxed Finish {Hard or Soft Wood) 

A waxed finish may be applied over either varnish or 
shellac. 

Preparation of surface — Follow the instructions on preced- 
ing page under caption "Preparation of Surface for Varnished 
Floors." 

Application of varnish or shellac — For a varnish finish, 
apply the varnish as directed at top of this page under the 
caption "Application of Finish." For a shellac finish, simply 
apply two coats of S-W Pure White Shellac thinned to the 
proper brushing consistency, allowing each coat to dry hard. 

Next apply a thin coating of S-W Prepared Wax with a 
soft cloth. Then polish to the proper finish with a clean, soft 
cloth, or a weighted waxing brush. 

Stained Finish {Hard or Soft Wood) 

Some finishing specifications call for a stained floor, some- 
what darker than the natural and popular hardwood effects 
most generally seen. 

After floors have seasoned well for about a month, if 
possible, they should be scraped and sandpapered smooth 
with No. }4 sandpaper. A coat of S-W Handcraft Stain of 
the desired color should then be applied direct to the wood. 

After stain has dried for 24 hours, if floor is an open- 
grain wood (see explanation on page 56), a coat of filler should 
be applied as directed on page 56 (if floor is a close-grain 
wood, filler should be eliminated). 

[ Page 69 ] 




Goud looking floors arc essfrtlial to a 
good looking room 



Then apply two or three coats of S-W Mar-not Varnish, 
allowing each coat to dry 48 hours and sanding each coat 
except the final coat lightly with 00 sandpaper. 

Varnish Stain Finish — {Soft or Hard Wood) 

Where it is desired to finish the cheaper woods in popular 

hardwood effects, or where 
either hard or soft wood 
floors are not in good 
condition to varnish or wax, 
the best method of finishing 
is with a varnish stain, like 
S-W Floorlac, which covers 
up all imperfections and 
at the same time produces 
a good varnish finish imita- 
ting natural woods. 

Preparation of surface — 
Follow instructions on page 67, for varnished floors. 

Application of finish — Apply one or two coats of Floorlac 
of the desired color as it comes from the can, using a soft 
bristle brush and brushing out into thin even coats. Allow 
each coat to dry for 48 hours. Before starting, it will be found 
a good idea to try out the finish on a small piece of the same 
kind of wood upon which it is to be used to see if the shade 
is satisfactory, as the shade varies slightly according to the 
kind of wood. Another thing to keep in mind is that Floorlac 
is considerably different in character than paint. Two, three 
or four coats of paint applied over each other do not affect the 
color of the surface; but each succeeding coat of Floorlac 
darkens the surface perceptibly. If one or two coats do not 
produce exactly the right effect on the small sample, an 
additional coat may produce just what is wanted. If no small 
strip of wood is available, the try-out might be made on the 
floor back of the door or in a dark corner of the room. In 
applying Floorlac a few boards should be followed through 
from one end of the room to the other, instead of trying to 
finish a large square surface at a time and then going back 
and finishing another square, as this latter practice will have 
a tendency to show laps. 



[ Page 70 ] 



Following the use of Floorlac colored, apply one coat of 
S-W Floorlac Clear or S-W Mar-not Varnish. It is always 
advisable to apply a finishing coat of the Clear, even omitting 
one of the coats of Floorlac colored, if necessary, for the 
following reason. Where no finishing coat of Clear is applied 
you have wear on the color right away, foot wear commencing 
to change the color of the surface in all pathways of foot 
trafiic, from the first day of use. Whereas, if a finishing coat 
of Clear is applied, it serves indefinitely as a protecting coat 
over the color. 

Splendid grained effects may be produced by applying a 
coat of S-W Graining Preparation directly over the ground 
color, then graining with a regular graining roller or steel 
comb. 

Painted Finish {Soft Wood) 

Frequently soft wood floors have become badly dented 
and marred, so that they will not appear well in a varnished 
or waxed finish unless they are rescraped to a fresh surface. 
There is no reason, however, why these floors cannot be made 
attractive by using S-W Inside Floor Paint, 

Preparation of surface — No special preparation is ordinarily 
necessary for the application of Inside Floor Paint, except to 
see that the surface is free from dirt, grease and moisture. 

Application of finish — First pour the liquid on the top 
into another can. Stir the pigment thoroughly with a paddle; 
then add the liquid a little at 
a time until all of it has been r 
mixed with the paint, stirring 
constantly. Brush the paint 
out well and work thoroughly 
into the pores of the wood. It 
is better to apply three thin 
coats than two heavy coats — 
they will wear better. Thin 
the first coat with one pint ™^ 

raw linseed oil to the gallon i ,„■,„./,„ s/,,,. ,/,,„•//„■„„„/,-,■„,„ oi^ ' 

of paint. Allow plenty of air '"•' "•' """ ^"""' '" "" "'""' 

to circulate through the room after painting — it hastens 
drying. Inside Floor Paint dries hard over night and can be 
walked on next morning, but it is better to allow 48 hours 
between coats. 

[ Page 71 ] 





A Man's Jiouni 



It is hardly necessary to say that this room may be the 
sanctum sanctorum of the college chap or possibly that same 
fellow grown up but still retaining his love for soft, rich tones 
whose sombre quality makes his book and pipe all the more 
friendly. 



Specifications on page 1^6 



Refinishing Old Floors 

One of the very important things in refinishing old floors 
is to clean the floor thoroughly, immediately before applying 
the finish. The surface dust should be swept up; then floor 
should be cleaned with soap and water (preferably S-W Flax- 
oap, a linseed oil soap, which is especially good for this pur- 
pose). This should always be followed by wiping up the floor 
with a cloth moistened with benzine, which removes any grease 
that may remain from the soap. It is especially important 
to wipe up kitchen floors around the stove or sink carefully 
with benzine to remove grease drippings, soapy substances, etc. 

Filling the Cracks 

To obtain a perfectly smooth finish on old floors, all nail 
holes, crevices or cracks caused by boards shrinking and 
coming apart, should be filled with S-W Crack and Seam 
Filler. This filler should never be applied to the bare wood 
as the oil content woul)d have a tendency to soak into the 
wood, leaving the pigment to dry out and crumble. It should 
be applied either after the first coat of paint (or varnish) is 
thoroughly dry or after the cracks and holes have been care- 
fully primed. 

In applying the filler, it is important to fill the cracks 
thoroughly by pressing the filler all the way to the bottom 
of the crack. If this is not done, it is apt to hang on the sides 
and later on give way, come loose and drop, causing a break in 
the surface film and greatly disfiguring the floor. 

Varnished Finish — ( Hard or Soft Wood) 

If floor is in first-class condition one or two coats of 
Mar-not Varnish, applied as it comes from the can, will renew 
the finish to its original condition. Each coat should be 
allowed to dry for 48 hours. 

If the floors are in unsatisfactory condition, and it is 
desired to secure the finest effect, the old finish should be 
removed with S-W Taxite, as directed on page 47, and the 
floor scraped, if necessary. 

When the floor has been cleaned down to the bare wood, 
proceed as directed in the specification "For A Varnished 
Finish on New Wood" on page 67. 

[ Page 73 ] 




A Homey Livijig-liuuni 



The soft grays, rendered doubly pleasing by the trans- 
parent, luminous quality of the glaze effect, give an added 
richness to the more intense tones of the furnishings of this 
room. A decidedly summery feeling is created by the cre- 
tonne cover which is to protect the tapestry chair for the 
summer months. The flowers and bright candy jars furnish 
the right accent. 

The knitting, drop])ed for the moment, speaks eloquently 
for the comfort and livability of this room. 

Specijiculioris on piigc 1 '/6 



Waxed Finish (Hard or Soft Wood) 

In cases where the floor, through unusually hard wear or 
neglect, is in an unsatisfactory condition and requires 
refinishing, the old finish may be removed by first taking ofiP 
the wax with turpentine or benzine, then removing the 
shellac coatings with S-WTaxite as directed on page 47. Then 
apply waxed finish as explained on page 69. 

Varnish Stain Finish — {Hard or Soft Wood) 

If floor has previously been finished with a varnish stain, 
such as S-W Floorlac, and is in fairly good condition, the 
finish can be renewed by applying one or two coats of Floorlac 
Clear or Mar-not Varnish. Forty-eight hours should be 
allowed between each coat for drying, sandpapering each coat 
except the last one as directed on page 70. 

Always be sure surface is free from dirt or grease before 
applying finish. 

Painted Finish — (Soft Wood) 
If floor is cracked or boards have shrunk apart, use S-W 
Crack and Seam Filler, before applying paint, as directed 
on page 73. 

. Be sure that floor is free from grease and moisture, then 
apply one or two coats of S-W Inside Floor Paint, as directed 
under caption "For a Painted Finish, New Floors" on page 71. 

Linoleum 

Linoleum, one of our most practical floor coverings, is 
recommended for both new and old floors in kitchens, bath- 
rooms, basements, etc. It may 
be obtained in pleasing and 
suitable patterns and color 
effects, and, because it is not 
so hard and unyielding as a 
wood or concrete floor, is much 
easier on the feet, and does 
not fatigue the housewife. 

Printed linoleum needs the 
protection of a good floor 
varnish, however, in order to save it from destructive wear 
and prevent effacement of the design. Varnish also makes 
either printed or inlaid linoleum much easier to clean; clean- 






The figure worn off. A proleclive film of 
varnish would have prevented this. (Photo 
courtesy of H. A. Gardner.) 



[ Page 75 ] 



ing with a mop or a cloth being sufficient, and scrubbing un- 
necessary as the dirt does not grind into the linoleum. 

It is a very simple matter to varnish linoleum and takes 
very little time. All that is necessary is to clean thoroughly 
with soap and water (preferably S-W Flaxoap); then wipe 
off with a cloth saturated with benzine. When dry, apply 
one or two coats of S-W Durable Linoleum Finish, S-W 
Mar-not Varnish or S-W Floorlac Clear, these varnishes being 
especially adapted for use on linoleum. Allow 48 hours for 
drying after each coat. 

Dancing Floors 

Maple is the most durable and satisfactory wood for 
dance floors. 

The floor should be scraped and sandpapered to the 
smoothest surface possible with No. 3^ sandpaper. 

With close-grain woods (see explanation of open and close 
grain woods on page 56) like maple, the use of a filler is 
unnecessary, but if floor is one of the open-grain woods, a coat 
of S-W Paste Filler Natural should be applied as directed 
on page 56. 

Then apply a thin coating of S-W Prepared Wax with a 
soft cloth, and polish to the proper finish with a floor weight. 

The Care of Floors 

Floors should be gone over once a day with a cloth or 
oil mop, saturated with S-W Floor-Wipe. When this is done 
a few moments a day will keep several rooms looking fine. 

Waxed floors can be kept in good condition for a long 
time by polishing with a weighted waxing brush or by rubbing 
briskly with a cloth, at frequent intervals, and applying a new 
coating of wax from time to time. 

At intervals it is advisable to clean floor with S-W Flaxoap 
and water. Flaxoap is a linseed oil soap, and, its use will re- 
new the life of the finish. 

Never use laundry soap, scouring soaps, washing powders 
or prepared cleansers which contain alkali, acids, lye, etc. 

Use lukewarm water — not hot. Never "flood" the floor 
with water. Wash about a square yard at a time, rinse with 
clear water, and dry thoroughly. 

[ Page 7G ] 



After washing floor, to secure a nice bright floor apply S-W 
Floor- Wipe or S-W Polish-ol. Simply dampen a cloth with the 
liquid or use a floor mop. Then polish with a dry cloth. 

Cement Floors 

There are two distinct methods of treating cement floors. 

One method is to paint the floor with an oil gloss paint, 
wherever a painted finish is desired. 

The other method is for floors showing a tendency to dust, 
which usually occurs where floors are subjected to hard wear. 
For this purpose we recommend a cement floor hardener. 

A Painted Finish 

Where a painted finish is desired, very satisfactory results 
may be obtained through the use of S-W Concrete Floor Paint. 
No special preparation of the surface is necessary before 
applying the paint, other than removing all grease, loose 
dirt and foreign matter (never wash or scrub floor immediately 
before painting, as moisture is detrimental to good results). 

Three coats of S-W Concrete Floor Paint should be applied, 
thinning the first and second coats with one pint pure tur- 
pentine to the gallon of paint. 

Satisfactory painting of cement surfaces depends on cement 
being neutral or free from acid. On newly laid floors, suf- 
ficient time must be allowed for all moisture to dry out. 
Cement floors laid directly on the ground without adequate 
drainage are poor surfaces for painting. 

Concrete and Cement Hardener 

W^here a dust proofing and hardening treatment is desired 
on floors subjected to hard wear the application of S-W 
Cement and Concrete Hardener, a colorless liquid chemical 
preparation to the surface of the floor will immediately stop 
dusting and permanently harden and seal the floor without 
changing its color to any appreciable degree. 

Concrete and Cement Hardener should never be used 
as a preparatory coat on floors that are to be painted unless 
the concrete is subject to such excessive dusting that some 
hardening measure is absolutely necessary. 

Full instructions for the use of this material will be furn- 
ished upon application to The Sherwin-Williams Company. 

[ Page 77 ] 




A Diniii'j-Rooin in I he Spirit of Old llolony Days 



The furnishings of this dining-room have been chosen 
from the simplest types avaihible and the unpretentious lines 
of the table, chairs and clock make for a quiet dignity which 
is in very good taste. 

The wall color, varying from soft blendings of blue and 
brown, gives a range of blue-grays, gray-greens and browns 
which seem to find their parent colors in the dark Colonial 
mahogany and rich green rug and admirably set off both 
to full advantage. 

SpeciJ'icnlions on page I'/O 



Chapter VIII 

Interior Woodwork 

Some of the Best Cabinet Woods: How to Finish Them 

FORTUNATE indeed is the man who can retain a com- 
petent architect or well-posted builder to look after 
his interests in finishing the interior woodwork when 
building a new home. Even where it is possible to specify 
any wood one's fancy might dictate, there still remains the 
problem of securing the stains and varnishes that will truly 
enhance the beauty of the wood provided. Each operation 
from the installing of the wood down through the preparation 
of the surface, sanding, staining, filling, sealing, varnishing 
and rubbing, is so important and closely related to each sub- 
sequent operation, as to merit most careful supervision. 

Any person who goes to the trouble and expense of secur- 
ing choice finishing lumber should make definite provision to 
cover these important conditions: The plaster must be thor- 
oughly dry before the lumber is even delivered to the house. 
The better the lumber is seasoned the more thirsty it is for 
water, which will be absorbed readily if the atmosphere 
within the building is damp. This will result frequently in 
warping, but is certain to cause the grain of the wood to 
raise even if already sanded, so that even where wood is 
not permanently damaged, considerable uncalled-for expense 
is incurred through necessity of again sanding the wood. Of 
course, all lumber should be sanded smooth after it has been 
installed, but this is a comparatively light operation if the 
grain of the wood hasn't been affected. 

Never have woodwork installed if the plaster is damp. 
When it is necessary to do this work during the wet or rainy 
season of the year, artificial heat should be provided to keep 
the house dry. 

For very best results, paint the back of all wood trim 
with a coat of a good linseed oil paint, such as SWP, 

[ Page 79 ] 



before installing. This will prevent moisture (which may be 
in the wall at a later date) from entering the wood from its 
unfinished side to cause warping. 

Have the painters or finishers on the job to begin their 
work just as soon as the carpenter is through with his part. 
It is well for the home owner to remember that he has an 
investment in his woodwork, which plays a part, second 
almost to no other feature, in making the home attractive 
to live in and readily salable. The cost of stain and varnish 
materials usually represent less than one-half per cent of the 
entire cost of the building, so it is very apparent that even a 
dollar or two on a gallon of stain or varnish is not to be con- 
sidered when compared to the results and length of service 
obtained. Every manufacturer is compelled, through demand, 
to manufacture materials of second quality in addition to his 
best. The value, of course, is there for thie price paid, but 
the economy is, many times, questionable. It is good prac- 
tice, therefore, to specify the materials recommended as the 
best for the purpose by the manufacturer. 

It is hoped that this book will serve a purpose in addi- 
tion to merely giving specifications, namely, that of furnish- 
ing new ideas of materials, effects and finishes. It is not 
always practicable to use some of the old standbys in finishing 
interior wood trim, nor is it always desirable. The cost of 
the lumber very often requires careful consideration on the 
part of the architect or the man who has the ambition to 
build and own a home. It is much to be preferred that a 
good grade of a moderately priced wood be employed for 
interior wood trim and floors, than a poorer grade of some 
more expensive wood. From the illustrations given on pages 
82 to 98, it will be seen that exceedingly beautiful work 
may be done with pine, cypress, Douglas fir (Oregon pine), 
California redwood and other woods, all of which cost less 
than some woods frequently desired by the home builder. 
The treatment of these woods may be worked out in harmony 
with the walls, because they one and all possess beauty of 
grain which may be properly brought out and quality, not 
cheapness, indicated through correct stain and varnish treat- 
ment. It is, after all, the successfully developed ideas one 
displays in home building, and not cost of material used, that 
will represent ultimate value in the completed building. 

[ Page 80 ] 



A.ny problem not covered in the suggestions offered in this 
volume should be referred to the staff of our Department of 
Decoration, because it is our desire, as thoroughly as it is 
yours, to see that your woodwork trim is all that could be 
desired and more. 

Oak 

Mighty oak! This wood has always been associated 
with the thought of actual physical strength and long life. 
Oak has a most characteristic grain. As used in furniture, 
fine woodwork and floors, we are equally familiar with both 
the straight sawed and the quarter-sawed wood. The latter 
furnishes the most striking figuration due to the cutting cross- 
wise of the medullary rays of the log which then appear as 
the streaks or flakes darting across the grain and which make 
quarter-sawed oak so characteristic and in such extensive 
demand for fine furniture. Striking patterns can be selected 
which are splendid for table tops and large panels. For the 
general run of woodwork and floors, a more modest grain is 
desirable as producing a more quiet and restful effect in the 
room. 

Oak is an open-grain wood, i. e., there are open spaces or 
pores, varying in size, between the fibres of the wood. This 
is both an advantage and a disadvantage. These open pores 
follow the figure of the grain so that by making them con- 
spicuous or inconspicuous, one may greatly intensify or 
modify the character of the grain. 

Oak or any open-grain wood requires that the pores be 
filled where a varnish finish is desired. A specially prepared 
paste filler is provided for this purpose which fills the pores 
and levels the surface for varnishing. When the filler is 
omitted a "bumpy" effect results, due to the varnish sinking 
into the open pores. This "bumpy" surface wears through 
very quickly on fioors, so they soon look shabby. A properly 
filled and varnished oak floor is one of the most desirable 
and attractive of all floors and with an occasional revarnish- 
ing, is good for a lifetime. 

The so-called Mission Finishes in fumed oak, weathered 
and cathedral oak, are simply stained finishes to represent 
these types, and are usually given only those finish coats as 
are absolutely necessary to protect the wood. They retain 

[ Page 81 ] 







'ii'ltl'Hn.iiiiiiSf,,' 



Oak, No. 1 



Oak, No. 2 




Oak, No. 8 



Oak, No. 




Oak, No. 5 



Oak, No. 6 



Oak, No. 



Oak, No. 8 




Oregon Fir 
No. 9 



Chestnut 
No. 10 



Oak, No. 11 Oak, No. 1-2 

Specifications on pages 95-97 



that craftsman-like "woody" appearance which is so rugged 
and attractive. In these finishes, the pores of the wood are 
not filled. 

The grain of oak may be brought out by the use of either a 
dark filler or a light colored or white filler, usually referred to 
as a toner. In using a toner, the oak should first be brushed 
with a wire brush to thoroughly open all the pores of the wood 
and assure the even distribution of the toner. Only a lack of 
knowledge as to the correct color combinations and right 
procedure has retarded a broader use of these truly beauti- 
ful treatments of oak. They are appropriate for either 
straight or quarter-sawed wood. 

A very wide range of color effects is possible and ap- 
propriate to work out over oak. Red mahogany stains, how- 
ever, are out of place on oak. The grain of oak is so charac- 
teristic, that a red mahogany finish appears as a too obvious 
imitation of the other wood. Where the furniture of a room 
is red mahogany and a light oak piece would be out of place, 
it is advisable to finish that piece in Dark Brown Mahogany 
or a reddish-brown such as Handcraft Stain Old English 
Oak or Cathedral Oak (see page 47 on refinishing old furniture 
and woodwork). 

Silver gray effects are popular on oak. Selected white 
oak alone is suitable for this work, however, as red oak while 
yielding a pleasing effect, does not permit of a true gray 
because of its reddish cast. 

Oak is a valuable cabinet wood and deserves careful 
handling and finishing. Any care used in carrying out the 
detailed specifications in finishing, given by the manufacturer, 
will be amply repaid as oak responds splendidly to so many 
types of finishes. 

Chestnut 

Chestnut exhibits a rather coarse grain in which the pores 
of the wood are quite conspicuous. To the trained cabinet 
maker and finisher these pores at once offer an opportunity 
to produce unique art effects through the use of colored 
toners. With the pores of the wood open, prominent and 
receptive, why not make them attractive through color 
interest .►^ A builder or decorator uses such woods as chestnut 
and ash for special effects and uses oak for standard effects. 
One of the many craft effects possible with chestnut wood is 

[ Page 83 ] 



shown on page 82. If a home or building is to be finished in 
chestnut trim, additional suggestions may be secured by 
writing The Sherwin-Williams Co. Department of Decoration, 
601 Canal Road, Cleveland, Ohio. 

Ash 

Ash is the same type as oak, although of a somewhat 
lighter color. It is an open-grain wood and requires a paste 
filler for satisfactory results and service in a full varnish 
finish. Advantage has been taken of the light color of ash in 
the color reproduction shown on page 86. This illustrates a 
pleasing weathered gray effect which would be exceedingly 
restful and pleasing for a living-room or den. Finished in this 
manner, the gray toner replaces the customary paste filler. 

Pine 

Pine may be classed as our most useful wood. It is a 
structural wood, used for the framing and enclosing of our 
best frame dwellings, and has so interesting a texture and 
grain, that it is widely used for the interior trim as well. 

Differing from oak, the quarter-sawed or edge grain in 
pine is not interesting in figuration. Edge grain pine is 
harder than the straight-sawed wood, however, and is speci- 
fied for floors for this reason. 

White pine does not have as spirited a grain as Southern 
pine, but is preferred along with birch for enamel woodwork, 
because of its close texture and freedom from resinous spots 
which tend to discolor white enamel. 

Southern pine, while finished very frequently in the 
natural, is really better, because of its bright yellow tone, 
finished in stain. Practically any stain effect is good over 
pine with the exception of silver gray. The yellow of the 
wood makes it difficult to produce a true silver gray. Oregon 
pine veneer doors frequently are exceedingly well figured 
and while of course, pine does not resemble mahogany as do 
birch and figured red gum, it does take mahogany stains 
very well. Walnut, brown mahogany, brown oak and 
weathered oak, are a few of the many other effects recom- 
mended. Use S-W Oil Stains or Handcraft Stains for stain- 
ing pine. Acid Stains tend to raise the grain of pine and their 
use is not recommended. See page 86 for additional sugges- 
tions in color. 

[ Page 84 ] 



Oregon Pine or Douglas Fir 

This wood may be distinguished from pine by its general 
redder tone in place of the sharp yellow color of Southern 
pine. The figure of the grain is more angular, too, than pine. 

Fir wood takes oil-stains and spirit stains with splendid 
depth of color. Acid stains, because of their water content, 
raise the grain of fir, making it very ridgey and rough, so that 
it cannot be sanded smooth again. For certain craft effects, 
this is deliberately induced as the wood will then accept a 
toner with unique results. Color reproductions of stained 
effects on this wood, are shown on pages 8'i and 86. 

Mahogany 

Mahogany enjoys the unique distinction of being always 
associated with quality in cabinet work. This marked quality 
is responsible for the large number of imitations encountered. 
Strangely enough, the color of red commonly associated with 
the term mahogany, is not the natural or characteristic color 
of the wood, which is a light, warm brown varying with dif- 
ferent specimens. This red is the stained effect used over 
mahogany quite generally until recent years, when the 
antique or brown mahogany came into favor. And while the 
brown tone is at present the more popular and is surely sup- 
planting the older red color, the latter will for a long time 
still be thought of as "mahogany." 

Mahogany was first introduced into England in 1597 by 
Sir Walter Raleigh, in one of whose ships this wood had been 
used for some repair work. The wood itself was greatly ad- 
mired at the time, but it was not until about 150 years later 
that mahogany became an article of commerce. Mahogany 
was, in fact, first used to some extent in shipbuilding in place 
of oak, and is still used in building small pleasure craft. 

The natural wood has a warm reddish-brown tone, light 
in color but darkening with age. It is almost always stained, 
as staining enhances and strengthens the character of the 
grain. The tree grows rapidly in good soil, but the texture 
of the wood becomes coarser than when the tree is found 
in more barren locations, where it grows slower. Here the 
grain is finer and possesses better figuration and is superior 
for the cabinetmaker's art. 

[ Page 85 ] 




Southern J'iiie 
No. 13 



Southern Pine 
No. li 



Southern Pine 
No. 15 



Southern Pine 
No. 16 





Soutlierii Pine Southern Pine 

No. 17 No. 18 



Soutliorn Pine 
No. 1!) 



Soutiiern Pine 
No. 20 





Ash, No. 21 Oregon Fir Uri't;oa i"ir Oregon Fir 

No. 22 No. 23 No. 2i 

Specifications on pages 97-99 



Mahogany has open pores which require the use of a 
paste filler. A dark filler is generally used, black with a bit of 
red in it, which is always applied after staining. (S-W Ma- 
hogany Paste Filler.) 

Mahogany is found principally along the Florida Keys, 
the Bahamas, West Indies, Mexico, the Philippines, Central 
America and down as far as Peru and Brazil. The so-called 
Spanish mahogany is regarded by some as the best quality 
and comes from Cuba, San Domingo and the West Indies. 
Mexican mahogany perhaps ranks next, being named after 
the port of shipment and the quality is recognized in the order 
given: Frontera, Laguna, Santa Anna and other ports. Afri- 
can mahogany is coming to rival American wood quite gener- 
ally. 

Besides the true mahoganies, there are several other 
woods able to be sold along with mahogany because of their 
very close resiemblance to the true wood, even down to the 
type of grain figuration and arrangement of the pores. 

Prima Vera, called white mahogany, is one of these woods. 
It grows in Mexico and Central America and is of a golden 
yellow color when finished without staining, and for certain 
color schemes is a highly desirable wood. Butternut and 
white walnut are sometimes sold as white mahogany, but 
may be readily detected. 

Spanish cedar, another "mahogany," is found in Mexico, 
Cuba and the West Indies. This tree grows very rapidly, 
and is rather porous. It resembles mahogany and is frequently 
sold and used in place of mahogany. Its principal use, how- 
ever, is for cigar boxes. Its porous quality assists in seasoning 
the cigars and its odor is said to improve the flavor of the 
tobacco. Mexico is the chief source of American supply. 

The grain of mahogany varies from very straight wood to 
the most gorgeous markings found in veneers taken from the 
crotch of the tree, i. e., where a branch joins the trunk. Furni- 
ture made of the solid board is usually of rather straight, 
modest grain. The veneered panel is really stronger than the 
solid board and permits matching and placing of grain figura- 
tions at will. In making veneer panels, the grains of the 
core wood and the veneer are placed at angles, thereby 
strengthening the piece and preventing warping and splitting. 

[ Page 87 ] 



Sherwin-Williams Mahogany Stains are furnished in the 
Acid (permanent) type, the Handcraft (or spirit) Stains, and 
Oil Stains, each having well-defined advantages and charac- 
teristics. These stains are designed to produce the accepted 
standard tones of red and brown mahogany on true mahogany 
wood, and on the other woods used as substitutes. They are 
also highly pleasing on birch, gumwood and pine. (See page 
90 for color reproductions of these effects.) 

American Walnut 

English or royal walnut (Juglans Regia), a native of Persia 
was the only available species of walnut until the introduction 
of North American black walnut (Juglans Nigra), about the 
middle of the seventeenth century. This beautiful ca,binet 
wood was one of the first imports to England from the new 
world and by 1750 was supplanting English and Continental 
walnut used for furniture. 

The English, French and Italian walnut is somewhat 
similar to American walnut, but inferior in both strength and 
beauty. The Circassian and Turkish walnuts are of the same 
species, but are good examples of the influence of environment 
and soil upon tree life. The barren soil or other adverse con- 
ditions are directly responsible for a stunted, gnarly growth 
which, while impairing the beauty of the tree, gives us ex- 
tremely unique and attractive figurations of grain, usually 
streaked with black. This wood is used only for veneers. 
The English walnut is cultivated extensively in this country 
for its fruit, which is the English walnut of commerce. 

It is interesting to know that one of the largest uses to 
which walnut was originally devoted, was the manufacture of 
gun-stocks. It is still the only wood that is fully satisfactory 
for the purpose. During the late war the entire production of 
walnut was under government control and used solely for 
gun-stocks and as first choice for airplane propellers. 

For thirty years prior to the war Europe had been taking 
almost the entire annual production of American walnut for 
furniture and interior trim. This naturally created a scarcity 
of the wood here and the impression that the walnut supply 
was exhausted. Fortunately the war has shown that this is 
not the case. 

t Page 88 ] 



In addition to plain, straight grain wood there are oc- 
casional trees that show "figure" when cut. Much of the 
figured walnut seen in pianos, phonographs and furniture panel 
work comes from the stump of the tree and most of the 
matched symmetrical figures are of stump wood. These are 
veneers, of course, and not practicable for use in average 
interior woodwork except in doors and paneled wainscotings. 

There is another source of figured walnut veneers found in 
walnut "burls," which are large knots or excresences usually 
found at the base of the tree. The largest of these weigh up 
to two tons and when sound, furnish a beautiful mottled or 
bird's eye effect. 

The principal cause, as we see it, for the change of public 
taste from walnut to the golden oak craze, which was with us 
for so long, was a combination of poor design and too sombre 
finish. With the advent of well designed period furniture in 
walnut, has come a return of popular favor with wicker and 
enameled finishes furnishing the demand for brighter, light 
colored pieces. 

Walnut is a dark toned wood which may be finished in its 
natural color or stained as desired. It is an open-grain wood 
and requires the use of a walnut paste filler for a full varnish 
finish. 

Unique art effects which are truly beautiful, may be pro- 
duced with walnut by using a light colored toner in place of 
the regular dark filler. As a suggested effect, apply S-W 
Handcraft Stain Walnut, a very thin coat of pure white 
shellac, using Sherwin-Williams Flat-Tone Silver Gray as the 
toner. This should then be finished with a thin coat of pure 
white shellac and S-W Velvet Finish Varnish No. 1044. 
Carved portions of the furniture are splendid polichromed in 
dull gray-blues, orange and greens. (See page 57 for Handcraft 
System Effects.) 

Birch 

One can hardly be censured for referring to this cabinet 
wood as "Beautiful Birch." Its fine silky grain gives birch 
a rather feminine quality, although the wood itself is very 
hard and does not dent or bruise easily. These two qualities 
of hardness and fineness of grain make birch the very finest 
wood possible for enamel finishes. There are others as close 
grained, such as gum wood, poplar and white pine, but these 
are not so hard. 

[ Page 89 ] 




Mahogany 
No. 25 



Mahogany 
No. 26 



Birch, No. 27 



liirch, No. 28 




Mahogany 
No. 29 



Mahogany 
No. 30 



American 
Walnut 
No. 31 



Circassian 
Walnut 
No. 32 




Gum Wood 
No. 35 



Cium Wood 
No. 36 



Speci/ications on pajea 93-101 



Selected birch often displays interesting grain figuration 
and curly birch is most attractive. Such wood is most beauti- 
ful stained in either red or brown mahogany, walnut or brown 
oak. White birch (the heart wood of the tree is known as 
red birch) lends itself readily to silver gray effects. 

Although birch is classed as a close-grain wood, there 
are, nevertheless, minute pores which will take a paste filler, 
thereby bringing out the character of the wood more eflFec- 
tively. We recommend the use of a dark paste filler with 
stain effects on birch — a white filler or toner for silver gray 
stain on birch. See page 94. 

Cherry 

Cherry wood has a pleasing reddish tone and is a fine 
grain hardwood. Cherry is not as common as mahogany, but 
deserves an equal rank. The natural color of the wood is not 
in favor at present, nor is the color known as "cherry" in 
demand. This wood takes a mahogany stain very well, 
however, and its naturally interesting grain should give a very 
satisfactory room. See page 94. 

Cypress 

The grain of cypress is very easily recognized. It has a 
lacy pattern, truly beautiful. Cypress is an oily wood pos- 
sessing great durability for exterior work. This same pro- 
perty is probably responsible for the fact that cypress wood- 
work does not swell or shrink to any degree. 

For most effective and clean work with staining cypress, it 
is advisable to wipe off the surface carefully with benzine 
to remove the oil and facilitate penetration of the stain. It 
is necessary to do this shortly before staining, however, as the 
oil has a tendency to rise again. 

Cypress varies somewhat in color, some specimens being 
quite white and others quite red in tone. Any of the brown 
stains take well on cypress and red mahogany is quite strik- 
ingly attractive. On page 94, are shown effects somewhat 
out of the ordinary. The use of Handcraft Stain Silver Gray 
gives a very pleasing Circassian Walnut tone while Green 
Weathered Oak is very interesting too. Sherwin-Williams 
Handcraft Stains or Oil Stains will produce the most satis- 
factory effects on this type of wood. 

[ Page 91 ] 



Sugied cypress is produced by charring the surface of the 
wood with a blow torch. The flakes of the wood do not burn 
as readily as the softer parts. A wire brush is then used to 
remove most of the charcoal and the wood may then receive 
a white or colored toner, shellac and Velvet Finish Varnish. 

California Redwood 
California redwood is the commercial lumber obtained 
from the giant Sequoia trees of that state. It is claimed that 
the great age of these trees, ranging from 800 to 2000 years, 
gives the wood great natural preservative qualities, afford- 
ing the wood a natural seasoning which prevents warping 
or splitting. It is not unusual to see redwood panels five feet 
wide which keep their shape without shrinking or swelling. 
The wood, because of the size of the trees, is remarkably free 
from knots. In color it is of a pronounced reddish hue which 
may be finished in the natural or stained. 

Green stains produce dark rich velvety tones which are 
truly beautiful, inasmuch as the red of the wood still is in 
evidence in the harder portions of the grain. Sherwin-Williams 
Handcraft Stains or Oil Stains are recommended for finishing 
redwood. Acid Stains tend to raise the grain of this wood so 
badly that satisfactory effects are difficult to secure. 

Interesting color samples of stain effects with redwood 
are shown on page 98. 

Gum Wood 

Difficulties experienced at one time in the curing and 
seasoning of the lumber, have been overcome so that gum 
wood is a highly satisfactory wood for cabinet work and in- 
terior finish. Gum is a very close-knit wood of fine texture. 
The tree produces both heart and sap wood, the former being 
the red gum of commerce. 

It seems that the figuration of grain is largely a matter of 
individuality with each tree, there being no reason to determine 
why one log will saw up and produce interesting grain, while 
the next one will prove relatively plain and uninteresting. 
Soil and situation undoubtedly have their influence on the 
figuration of the wood. In a good log figured grain is found by 
either quarter-sawing or straight-sawing. The figure does not 
follow any line of yearly deposit as with oak or chestnut for 

t Page 92 ] 



example, but the colors cross the yearly rings in every direc- 
tion. In this respect the figure of red gum resembles that 
of Circassian walnut, so that with a special stain for the 
purpose, very good Circassian walnut effects may be pro- 
duced with figured red gum wood. Figured gum veneers, 
when made by the rotary cut process, give wide panels in a 
single piece. 

Plain gum is suitable as a base for enamel finishes because 
of its fine, even texture. Figured gum has been extensively 
used by furniture makers for both walnut and mahogany 
substitutes. It is most valuable, however, for furniture and 
wood trim, finished in natural color. See page 90. 




[ Page 93 ] 




Birch, No. ;?7 Birch, No. 38 Birch, No. .'JO Birch, No. 40 




Birch, No. 41 Birch, No. 4^2 Birch, Xo. 4:? 



Cherry 
No. 44 




( 'yi)rcs: 
No. 46 



Cypress 
No. 47 



Cvpresfs 
No. 48 



Specifications on pages 101 - 10" 



specifications for Wood Panels 

Shown on pages 82, 86, 90, 9^, 98 

Number /^Quartered Oak, finished natural. Suitable for 

woodwork or floors. 
Sherwin-Williams Oak Paste Filler or Transparent Paste 

Filler. 
Three coats Sherwin-Williams Scar-not Varnish for 

woodwork. 
Three coats Sherwin-Williams Mar-not Varnish for floors. 
Reduce the first coat of varnish 10% with pure spirits 

turpentine to secure penetration. 
Three coats of varnish are recommended, the first two 

sanded with 00 sandpaper, the last coat left in the 

natural gloss or rubbed dull and waxed if desired. 

(See page 52.) 

Number 2 — Quartered Oak, finished with Sherwin-Williams 

Antique Oak Paste Filler. 
This finish is suitable for both woodwork and floors. 

Antique Paste Filler darkens the wood in addition 

to filling the pores. 
On selected wood or quarter-sawed wood where it is 

desired to bring out the full character of the grain, 

the wood should be brushed with a stiff bristle brush 

to open up the pores before filling. 
This effect requires the same finishing coats as number 

one. 

Number 3 — Straight Oak, finished in Brown Oak Stain. 
Suitable for woodwork and in certain cases, 
public buildings, etc. It is suitable for floors. 

Sherwin-Williams Handcraft Stain Brown Oak. 

Sherwin-Williams Golden Oak Paste Filler. 

Thin coat pure White Shellac. 

Two coats Sherwin-Williams Scar-not Varnish for wood- 
work. 

Two coats Mar-not Varnish for floors. (See page 51.) 

Number 4^Quartered Oak, a cool Gray effect suitable for 

woodwork trim. 
Sherwin-Williams Handcraft Stain Early English Oak. 
Sherwin-Williams Golden Oak Paste Filler. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. (See 

page 51.) 

Number 5 — Straight Oak, finished in a Fumed Oak effect. 

Suitable for woodwork and furniture in the 

Mission or Craftsman style. 
Sherwin-Williams Acid Stain Fumed Oak, or 
Sherwin-Williams Handcraft Stain Fumed Oak. 
Thin coat pure White Shellac or Sherwin-Williams 

Mission-lac. 
One coat Sherwin-Williams Velvet Finish Varnish No. 

1044. 
Wax may follow the Shellac or Mission-lac, if preferred. 

[ Page 95 ] 



Number 6 — Straight Oak, finished in Cathedral Oak effect. 

Suitable for woodwork. 
Sherwin-Williams Handcraft Stain Cathedral Oak. 
Thin coat pure White Shellac or Sherwin-Williams 

Mission-lac. 
One coat Sherwin-Williams Velvet Finish Varnish No. 

1044. 



Number 7 — Straight Oak, finished in a soft Weathered Gray 
effect. Suitable for woodwork and for 
furniture in the Mission or Craftsman style. 

Sherwin-Williams Handcraft Stain Weathered Oak. 

Thin coat pure White Shellac or Sherwin-Williams 
Mission-lac. 

One coat Sherwin-Williams Velvet Finish Varnish No. 
1044. 



Number 8 — Quartered Oak, finished in a two-tone effect. 
Sherwin-Williams Handcraft Stain Old English Oak. 
Thin coat pure White Shellac, reduced with denatured 

alcohol if too heavy. 
Sherwin-Williams Flat-Tone Bright Sage toner. fSee 

page 59.) 
Thin coat pure White Shellac. 
One coat Sherwin-Williams Velvet Finish Varnish No. 

1044. 



Number 9 — Oregon Pine or Douglas Fir, finished in a two- 
tone Gray effect. 

Sherwin-Williams Acid Stain Silver Gray. 

Sherwin-Williams Flat-Tone Mixture Buff Stone and 
Pale Azure toner. (See page 59.) 

Thin coat pure White Shellac. 

One coat Sherwin-Williams Velvet Finish Varnish No. 
1044. 



Number iO — Chestnut Wood, finished in a two-tone effect. 
Sherwin-Williams Handcraft Stain Old English Oak. 
Thin coat pure White Shellac, reduced with denatured 

alcohol if too heavy. 
Sherwin-Williams Flat-Tone Forest Green toner. (See 

page 59.) 
Thin coat pure White Shellac. 
One coat Sherwin-Williams Velvet Finish Varnish No. 

1044. 



Number 11 — Quartered Oak, finished in a two-tone Gray 

effect. 
Sherwin-Williams Handcraft Stains Weathered Oak and 

Fumed Oak, equal parts. 
Sherwin-Williams Flat- Tone Silver Gray toner. (See 

page 59.) 
Thin coat pure White Shellac. 
One coat Sherwin-Williams Velvet Finish Varnish No. 

1044. 

[ Page 96 ] 



Number 12 — Quartered Oak, finished in a Silver Gray effect 

with toner. 
Sherwin-Williams Acid Stain Silver Gray. 
Sherwin-Williams Flat-Tone White toner. (See page .59.) 
Thin coat pure White Shellac. 
One coat Sherwin-Williams Velvet Finish Varnish No. 

1044. 

Number 13 — Southern Pine, finished in Dark Oak. 
Sherwin-Williams Oil Stain Dark Oak. 
Two coats Sherwin-Williams Scar-not Varnish for 

woodwork. 
Two coats Sherwin-Williams Mar-not Varnish for floors. 

Number iU — Southern Pine, finished in Colonial Oak. 

Sherwin-Williams Oil Stain Colonial Oak. 

Two coats Sherwin-Williams Scar-not Varnish for 

woodwork. 
Two coats Sherwin-Williams Mar-not Varnish for floors. 

Number 15 — Southern Pine, finished in Weathered Gray. 
Sherwin-Williams Handcraft Stain Weathered Oak. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish for 

woodwork, or 
Thin coat pure White Shellac. 
One coat Sherwin-Williams Velvet Finish Varnish No. 

1044. 

Number 16 — Southern Pine, finished in Mahogany effect. 

Sherwin-Williams Handcraft Stain Extra Dark Ma- 
hogany. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. 

Number 17 — Southern Pine, finished in Nut Brown. 
Sherwin-Williams Handcraft Stain Brown Oak. 
Thin coat pure Wliite Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. 

Number 18 — Southern Pine, finished in Dark Gray. 

Sherwin-Williams Handcraft Stain Early English Oak. 

Thin coat pure White Shellac. 

Two coats Sherwin-Williams Scar-not Varnish. 

Number 19 — Southern Pine, finished in Cathedral Brown. 
Sherwin-Williams Handcraft Stain Cathedral Oak. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish, or 
Thin coat pure White Shellac. 

One coat Sherwin-Williams Velvet Finish Varnish No. 
1044. 

Number W — Southern Pine, finished in Forest Green. 
Sherwin-Williams Handcraft Stain Bog Oak. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. 

[ Page 97 ] 




California 

Redwood 

No. 49 



California 

Redwood 

No. 50 



California 

Redwood 

No. 51 



California 

Redwood 

No. 52 




California 

Redwood 

No. 53 



California 

Redwood 

No. 54 



California 

Redwood 

No. 55 



Caiiloriiia 

Redwood 

No. 56 




Maple, No. 57 



Cypress 
No. 58 



Cypress 
No. 60 

Specifiriiliiins- on pntjes lOi-103 



Number 2i — Ash, finished in Weathered Gray. 

Sherwin-Williams Handcraft Stains Weathered and 

Fumed Oaks, equal parts. 
Thin coat pure White Shellac. 
Toner, Flat-Tone Silver Gray. 
Thin coat pure White Shellac. 
One coat Sherwin-Williams Velvet Finish Varnish No. 

1044. 

Number 22 — Oregon Pine or Douglas Fir, finished in 
Colonial Oak. 
Sherwin-Williams Oil Stain Colonial Oak. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish 



Number 23 — Oregon Pine or Douglas Fir, finished in a 

Silver Gray effect. 
Sherwin-Williams Acid Stain Silver Gray. 
Toner, Flat- Tone Shell Pink and Pale Azure, equal parts. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. 
One coat Sherwin-Williams Velvet Finish Varnish No. 

1044. 



Number 2U — Oregon Pine or Douglas Fir, finished in Warm 
Brown. 

Sherwin-Williams Oil Stain Walnut. 

Thin coat pure White Shellac. 

Two coats Sherwin-Williams Scar-not Varnish. 



Number 25 — Mahogany Wood, finished in Antique Brown. 

Sherwin-Williams Acid Stain Antique Brown Mahogany, 

No. 700. 
Sherwin-Williams Mahogany Paste Filler. (See page .56.) 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. (See 

page 51.) 

Number 26 — Mahogany Wood, finished in Dark Colonial 
Mahogany effect. ' 

Sherwin-Williams Acid Stain Dark Colonial Mahogany, 
No. 700. 

Sherwin-Williams Mahogany Paste Filler. (See page .56.) 

Thin coat pure White Shellac. 

Two coats Sherwin-Williams Scar-not Varnish. (See 
page 51.) 

Number 27- — Birch, finished in Antique Brown Mahogany 
eflfect. 

Sherwin-Williams Acid Stain Antique Brown Mahogany, 

No. 700. 
Sherwin-Williams Mahogany Paste Filler. (See page 56.) 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. (See 

page 51.) 

[ Page 99 ] 



Number 28 — Birch, finished in Dark Colonial Mahogany 

efiPect. 
Sherwin-Williams Acid Stain Dark Colonial Mahogany, 

No. 700. 
Sherwin-Williams Mahogany Paste Filler. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. (See 

page 51.) 



Number 29 — Mahogany Wood, finished in Adam Brown 
Mahogany effect. 

Sherwin-Williams Handcraft Stain Adam Brown Ma- 
hogany. 

Sherwin-Williams Mahogany Paste Filler. (See page 56). 

Thin coat pure White Shellac. 

Two coats Sherwin-Williams Scar-not Varnish. (See 
page 51.) 



Number 30 — Mahogany Wood, finished in Dark Mahogany 
effect. 

Sherwin-Williams Handcraft Stain Extra Dark Ma- 
hogany. 

Sherwin-Williams Mahogany Paste Filler. (See page 56.) 

Thin coat pure White Shellac. 

Two coats Sherwin-Williams Scar-not Varnish. (See 
page 51.) 



Number 31 — ^American Walnut, finished in full varnish finish. 

Sherwin-Williams Walnut Paste Filler. (See page 56.) 
Two coats Sherwin-Williams Scar-not Varnish. (See 
page 51.) 



Number 32 — Circassian Walnut Wood, finished in full varnish 
finish. 
Sherwin-Williams Walnut Paste Filler. (See page 56.) 
Two coats Sherwin-Williams Scar-not Varnish. (See 
page 51.) 

Number 33 — Figured Red Gum Wood, finished in a Cir- 
cassian Walnut effect. 

Sherwin-Williams Handcraft Stain Circassian Walnut or 

Sherwin-Williams Handcraft Stains Early English Oak, 
3 parts and Brown Oak, 1 part. 

Thin coat pure White Shellac. 

Two coats Sherwin-Williams Scar-not Varnish. (See 
page 51.) 



Number J4 — Birch, finished in a soft Brown effect. 
Sherwin-Williams Handcraft Stain Brown Oak. 
Thin coat pure White Shellac. 

Two coats Sherwin-Williams Scar-not Varnish. (See 
page 51.) 



[ Page 100 ] 



Number 35 — Figured Red Gum Wood, finished in Antique 
Brown Mahogany. 
Sherwin-Williams Acid Stain Antique Brown Mahogany, 

No. 700. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. 

Number 36 — Figured Red Gum Wood, finished in J)ark 

Colonial Mahogany. 
Sherwin-Williams Acid Stain Dark Colonial Mahogany, 

No. 700. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. (See 

page .51.) 

Number 37 — ^Birch, finished in Silver Gray. 

Sherwin-Williams Acid Stain Silver Gray. 
Toner, Flat-Tone White. 
Thin coat pure White Shellac. 

Two coats Sherwin-Williams Velvet Finish Varnish No. 
1044. 

Number 38 — Birch, finished in Cathedral Brown. 

Sherwin-Williams Handcraft Stain Cathedral Oak. 

Thin coat pure White Shellac. 

Two coats Sherwin-Williams Scar-not Varnish. 

Number 39 — Birch, finished in Adam Brown. 

Sherwin-Williams Handcraft Stain Adam Brown Ma- 
hogany. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. 

Number W — ^Birch, finished in Moss Green. 

Sherwin-Williams Handcraft Stain Green Weathered 

Oak. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. 

Number Ui — ^Birch, finished in Mouse Gray 

Sherwin-Williams Handcraft Stain Early English Oak. 

Thin coat pure White Shellac. 

Two coats Sherwin-Williams Scar-not Varnish. 

Number U2 — -Birch, finished in Empire Green 
Sherwin-Williams Oil Stain Moss Green. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. 

Number U3 — -Birch, finished in Dark Mahogany. 

Sherwin-Williams Handcraft Stain Extra Dark Ma- 
hogany. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. 

Number Uh — ^Cherry, finished in Light Mahogany. 

Sherwin-Williams Handcraft Stain Light Mahogany. 

Thin coat pure White Shellac. 

Two coats Sherwin-Williams Scar-not Varnish. 

[ Page 101 ] 



Number ^5 — Cypress, finished in Olive Green. 

Sherwin-Williams Handcraft Stain Green Weathered 

Oak. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. 

Number ^6 — Cypress, finished in Warm Brown. 
Sherwin-W'illiams Oil Stain Walnut. 
Two coats Sherwin-Williams Scar-not Varnish. 

Number Ul — Cypress, finished in Circassian Walnut effect. 
Sherwin-Williams Handcraft Stain Silver Gray. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. 

Number U8 — Cypress, finished in Cathedral Brown. 

Sherwin-Williams Handcraft Stain Early English Oak. 

Thin coat pure White Shellac. 

Two coats Sherwin-Williams Scar-not Varnish. 

Number ^9 — California Redwood, finished in Deep Forest 
Green. 
Sherwin-Williams Handcraft Stain Bog Oak. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. 

Number 50 — California Redwood, finished in Dark Ma- 
hogany. 

Sherwin-Williams Handcraft Stain Extra Dark Ma- 
hogany. 

Thin coat pure White Shellac. 

Two coats Sherwin-Williams Scar-not Varnish. 

Number 51 — California Redwood, finished in Cathedral 
Brown. 
Sherwin-Williams Handcraft Stain Cathedral Oak. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. 

Number 52 — California Redwood, finished in Nut Brown. 
' Sherwin-Williams Handcraft Stain Brown Oak. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. 

Number 53 — California Redwood, finished in Weathered 

Sherwin-Williams Acid Stain Silver Gray. 
Toner, Flat- Tone Buff Stone and Pale Azure, equal parts. 
Thin coat pure White Shellac. 

One coat Sherwin-Williams Velvet Finish Varnish No. 
1044. 

Number 5U — California Redwood, finished in Flemish Brown. 

Sherwin-Williams Handcraft Stain Early English Oak. 

Thin coat pure White Shellac. 

Two coats Sherwin-Williams Scar-not Varnish. 

[ Pagre 102 ] 



Number 55 — California Redwood, finished in Tavern Green. 
Sherwin-Williams Handcraft Stain Green Weathered Oak. 
Thin coat pure White Shellac. 

Two coats Sherwin-Williams Scar-not Varnish, or 
Thin coat pure White Shellac. 

One coat Sherwin-Williams Velvet Finish Varnish No. 
1044. 

Number 56 — California Redwood, finished in Old English 

Brown. 
Sherwin-Williams Handcraft Stain Old English Oak. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish, or 
Thin coat pure White Shellac. 
One coat Sherwin-Williams Velvet Finish Varnish No. 

1044. 

Number 57 — Maple, finished for floors. 

Three coats Sherwin-Williams Mar-not Varnish, first 
coat reduced ten per cent with pure spirits of tur- 
pentine. 

Number 58 — Cypress, finished in Warm Brown. 

Sherwin-Williams Handcraft Stain Brown Oak. 

Thin coat pure White Shellac. 

Two coats Sherwin-Williams Scar-not Varnish. 

Number 59 — Cypress, finished in Dark Mahogany. 

Sherwin-Williams Handcraft Stain Extra Dark Ma- 
hogany. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. 

Number 60 — Cypress, finished in Brown Mahogany effect. 
Sherwin-Williams Handcraft Stain Old English Oak. 
Thin coat pure White Shellac. 
Two coats Sherwin-Williams Scar-not Varnish. 



[ Page 103 ] 




A Charming Lirinq- Room in (i ray and Green 



What a pleasant surprise it is to come into a cool room such 
as this. Bright bits of color have been introduced very 
subtly in the gorgeous Chinese lacquered cabinet whose dull 
tan and red-orange seem to call for just such complementary 
spots of color as are furnished by the blue pillows in the 
lounging chair. A veritable splash of color is contributed by 
the lilies, whose tiger-like beauty furnish a rare spirit for the 
general scheme. The stippled wall robs the room of all pos- 
sibility of stiff formality. 

Specifications on ptuje l^i7 



Chapter IX 

Color Harmony Applied in the Home 

WHILE the subject of color and its application, like 
music, may be made a lifetime study, a familiarity 
with the rudimentary principles underlying the use of 
color will be valuable and can be obtained readily even where 
one hasn't the time for more extended reading. Colors do not 
just happen. Every tint or shade one sees has its own individ- 
uality and its group of related colors and shades. To know 
the relationship any color has to its neighbors in the color 
wheel is to know what tones to put together to make a room, 
a picture, a piece of embroidery, a dress or one's own person 
appear to best advantage. 

With this knowledge of the relationship of colors must 
come, also, an understanding of the effect a certain color 
has upon the appearance of a surface and the sensation 
one feels in being surrounded by any color or group of colors, 
as color affects color. In the spectrum there are three colors, 
red, yellow and blue, which are regarded as the primary colors 
because from them all colors are made. As a color becomes 
lighter the result is designated as a tint of that color. Pink 
is a tint of red; lavender of violet, etc. As a color is made 
darker it is called a shade of that color. 

Combining these primary colors one produces the binary 
or secondary colors: 

Red and yellow produce orange. 
Red and blue give violet. 
Yellow and blue give green. 
These further combinations can be carried out: 

Yellow and orange combined give yellow orange. 
Red and orange combined give red orange. 
Red and violet combined give red violet. 
Blue and violet combined give blue violet. 
Yellow and green combined give yellow green. 
Blue and green combined give blue green. 
These twelve colors then complete our circle. 

[ Page 105 ] 



Every color we know is some form of the colors shown 
around the edge of this circle. Perhaps the color is a simple 
tint or shade of one of these colors. Very often the color in 
question lies somewhere between two complementary colors 
ui)on the line which connects them. These in-between tones 
represent one of the principal colors to which some of its 
complement has been added. For example: Add a small 
amount of orange to its complement blue — ^the blue becomes 
slightly grayed. As more orange is added the blue will finally 
become a neutral gray. If orange is still added the resultant 
color will come over to the orange side and become a gray- 
orange and so the process may be carried out with any two 
related colors until we have all the colors at our disposal 
required in decorative art. 

The question frequently comes up as to what is a clean 
color and what makes a color appear dirty. A color may be 
satisfactory and pleasing as a wall color which would be 
unsuited and dirty in appearance if made up into a dress. 




BLUE GREEN 



RED ORANGE 



BLUE 



GRAY VIOLET 



• k • 

BLUE VIOLET ^^W RED VIOLET 
VIOLET 



RED 



[ Page 106 ] 



Here the sense of what is appropriate must govern one's 
choice. Inasmuch as a pure color such as prismatic blue, red, 
yellow, orange, violet and green are much too intense in tone 
to use generally in very large quantities, the various colors 
we know as wall colors and colors for fabrics have to be what 
are really known as grayed colors. Any one of these can be 
made to appear dirty if placed in combination with colors 
which are too pure in tone or to which they are unrelated. 
The remedy would be to determine the color which charac- 
terizes the tone under consideration and to then introduce the 
complementary color in either bright small bits as in a flower 
or to use that color in a softer, grayed tone. 

Color, in its relation to home life, is more important than 
in any of its many other uses. It influences our daily thoughts 
and actions and can make a home a pleasant place for all or 
something quite otherwise. Colors, red, yellow, blue and their 
many related hues have as definite and individual character 
as any person and are as positive in the effect they produce. 
Like persons, colors are affected by adjacent colors with which 
they may be combined and the success of the final result calls 
for careful planning in their placing. 

Most people show good taste in selecting articles in color 
with which to surround themselves and with few exceptions 
the rooms of these homes will be fairly pleasing in general 
effect even where lacking individuality. Frequently, however, 
the changing of a rug, the overdrapes or the introduction of 
some brighter bit of color will tone up the entire scheme and 
produce results little short of marvelous. 

Everyone has certain colors which are preferred over 
others. These colors are naturally in mind as what that 
person wants in his room or his house. Usually the thought 
does not become any more definite than that a blue room, or 
a yellow room, is desired. When the keynote, or leading color, 
for each room has been decided upon, a color scheme should 
be carefully built up which will make that color appear most 
interesting. 

Monochromatic Harmony 

There are three kinds of color harmony one may employ: 
Monochromatic, analogous and complementary. Mono- 
chromatic makes use of one color, treating the various sur- 
faces and objects of the room in different shades and tints of 

[ Pag:e 107 ] 




A Cheerful hiniiuj-Boom in Modem ircdlincnl 



A combination in dull blue and old ivory is always clean 
and refreshing. The blue has been made possible for these 
walls by first graying the blue and then freshening it up by 
stippling over with the cream gray. The result is a soft 
tapestry-like texture altogether pleasing. The deep blue of 
the rug makes it possible to bring in the brighter blue of the 
conventional piece over the buffet. The yellow notes and the 
orange of the flowers and lamp shade are necessary for ac- 
cent. 

Specijirulions on page I'i7 



that color. Such a scheme, for instance, would call for a very 
light blue for the ceiling, walls a darker blue, a still darker blue 
for rugs and overdrapes, with white curtains and white enamel 
furniture and woodwork. This scheme, while correct, will 
become very monotonous. 

Analogous Harmony 
Analogous harmony enables one to use related colors lying 
next in the color scale to the one chosen. Using blue again, 
these related colors would be blue-green and violet, with, of 
course, the different tints and shades of both. Now inasmuch 
as one would not want blue walls in combination with either 
blue-green or violet curtains, etc., a different handling becomes 
necessary. The scheme would then be: Ceiling an oyster 
gray, or an ivory-white; walls, a warm gray; rugs, a dark 
blue; overdrapes, in figured cretonne with blue as the principal 
color and other tones in gray, blue-green and violet. This room 
is more interesting than the monochromatic harmony, but 
very great improvement can be made. 

Complementary Harmony 

Complementary harmony calls for the most careful com- 
bining of colors so as to retain a balanced effect, but through 
its use the most pleasing results can be had, which will have a 
permanent value and will not become tiresome. Let us take 
our monochromatic scheme in blue and see what complemen- 
tary harmony will do for it. The ceiling will become ivory- 
white, the woodwork ivory-white enamel, both very light 
tints of orange, the complementary color of blue. Deeper 
orange may be used for the sofa or cushions and the curtains 
may be ecru net with blue overdrapes, while the rugs can 
contain both dull blue and old ivory. A brilliant orange vase 
will add accent and a delightful color note. 

In connection with planning any room in color, it is 
essential to remember this, that the larger the surface the 
softer should be the tone. This is accomplished in two ways, 
by adding either white or black to the color to make it lighter 
or darker, as circumstances demand, or by graying the color 
by adding to it a small amount of its complementary color. 
Orange added to blue will make a gray-blue. Green added to 
red will produce a grayer tone, etc. Refer to page 106, where 
a color chart is shown. 

[ Page 109 ] 



The reader may say that his woodwork will be oak and 
the room a dining-room. The same plan may be followed by 
adapting the colors to the type of the furnishings. Ivory 
enamel is one of the very lightest tints of orange; suppose the 
opposite be chosen. Among the darkest shades of orange are 
found the tones of brown mahogany, walnut and such oak 
stains as cathedral oak. Any one of these stain effects is 
splendid. When a figured rug in Chinese blue, for instance, is 
used, there will be found soft tones of old ivory, browns, 
grays, so that upholstering in plain blue for the chairs will be 
satisfactory. Where a plain blue rug is used, however, figured 
orange tapestry or velour will be most interesting. 

Of equal importance with the choosing of the right set of 
colors to combine, is the retaining of the true balance in the 
effect. One color must, of course, predominate. 

Balance in Color Harmony 

A balanced effect in color is secured when there is just 
enough of the contrasting tones to give the predominating 
color a feeling of support. The amount of either color which 
may be used may be determined in a comparatively simple 
manner. 

Estimating the amount of color in a room at 100 percent, 
approximately 60 per cent ought to be on the side of the key- 
color, that is, the true color and its related tones, and 40 per 
cent on the side of the complementary color and its related 
tints and shades. In this connection, space is not estimated 
as quantity, but the combined intensities of all surfaces 
rendered in blue tones, for instance, and the combined 
intensities of all surfaces done in the complement, orange 
with its related hues. Now to explain what is meant by 
differentiating between intensity of color as quantity as com- 
pared to the amount of space covered. 

The Blue Room 

Assuming that one has a quantity of orange to use, in a blue 
room, represented by 40 per cent, this amount of orange may 
be used over a relatively small surface or may be reduced to 
cover proportionately more ground. For example: Say that 
a bottle of ink will brush out over ten square feet of surface 
and give a full intense tone, it may be diluted with water so 
that it will cover an entire wall ; but the color will be much less 
intense. 

[ Page 110 ] 



The amount of any color one uses is measured by the sense 
of feeling of red, yellow or blue, etc., the surface gives. And 
so in decorating, a surface is less orange, for instance, as it 
becomes lighter tint or a darker shade. This means, then, 
that dark reddish-brown woodwork such as brown mahogany, 
walnut or cathedral oak, will give the same feeling of orange 
intensity as a very soft buff. It is very simple to understand, 
then, how a room with blue as its keynote may have walls 
and woodwork which really belong on the complementary 
orange side, that orange, of course, reduced in intensity in 
proportion to the space over which it is spread. This is of 
most practical value, because a poorly lighted room appears 
much brighter with walls in buff rather than in blue. 

Fortunately, the rules governing the application of color 
are flexible enough to permit of arranging a room to suit 
almost any legitimate taste. One person will want the walls 
done in heavy browns, while another will prefer backgrounds 
of cream gray or ivory tan, with the principal colors more 
daintily handled so that the finished room may be truly said 
to reflect the personality of him for whom the room was 
designed. 

One should never forget the true function of the walls and 
ceiling of a room. In addition to affording a sense of protec- 
tion, the walls serve as a background for both the furnishings 
and occupants of the room. It is obvious, then, that any 
treatment which makes the walls so aggressive as to press in 
upon one, defeats this purpose. 

The best way to avoid a too hard appearance in wall color 
is to use a broken treatment instead of one solid color. This is 
responsible for the wide use of figured wall-papers. The 
effect to produce something unique has, however, resulted in 
using large obstrusive patterns which frequently fairly scream 
from the wall. One wants texture, surely, but whatever is 
used should never cause the wall to "hide" the pictures or 
furniture placed against it; that would be camouflage, not 
decoration. A good test would be to ascertain whether or 
not the wall patterns will melt into a soft neutral shade when 
viewed from across the room, looking with the eyes half closed. 
In a painted wall treatment one has an exceptional oppor- 
tunity to produce such a broken wall color by using several 
colors in combination. Splendid soft blues, tans, etc., may be 

[ Page 111 ] 



produced in either the S-W Flat-Tone Multi-Color or S-W 
System Effects. In both processes can be shown most interest- 
ing texture effects which disclose an infinite variation of inter- 
esting pattern, still retaining the neutral character desired in 
wall colors. Great care is necessary in combining such intense 
tones as are furnished for tinting colors, especially, but in 
the chapters outlining these processes much valuable informa- 
tion is given. 

It is not possible to lay down a set of rules which will 
govern the placing of color in all cases. Color is so definite 
and so active a thing and each color has so different an in- 
fluence upon us that what is true of the blue-orange scheme 
may not be practical for our next consideration, red-green. 

Red is the most aggressive of the colors. Its rays travel 
fastest, giving it the property of making surfaces appear 
closer to the eye than other colors. Red is a most exciting 
and stimulating color also. These qualities make it unsuited 
for general use in the walls of the home. There are places, of 
course, where red is most valuable, as in the theatre auditori- 
um, where an exhilarating effect is desired and where it is of 
decided advantage to have the stage and the walls seem closer 
than they are. But for the home, red is restless and dis- 
quieting in effect. 

The Pink Room 

With pink, one of the tints of red, many charming effects 
are possible. The complement of red is green, and of pink a 
light green, so in this case complementary harmony will prob- 
ably be unsatisfactory, at least not as pleasing as analogous 
harmony, for pink and green are much prettier colors in 
flowers than in the permanent decoration of the room. The 
explanation for this is not difficult to find. Every color is 
made more intense in tone by being used in connection with 
its complement. Pink is already so aggressive in tone that 
the average person, through instinct, always uses pink by 
neutralizing it considerably by the extensive use of white. 
Green, then, would really spoil the effect of this truly pretty 
color, unless used in such minute quantities such as a small 
case or plant, when naturally it would not be important enough 
to create a feeling of general complementary harmony for the 
entire room. 

[ Page 112 ] 



Analogous harmony gives us pink, red orange and red 
violet. The two latter when grayed by the addition of their 
respective complements, blue-green and yellow-green, give us 
our tones of cream gray and warm gray, which everyone knows 
are admirable to use with pink and rose. 

With the pink wall either white or ivory-white enamel 
woodwork is ideal. Rose, a darker shade of pink, has been 
used effectively in certain types of living-rooms where there 
is considerable woodwork stained in silver gray. The rugs 
may be gray and rose and the curtains white marquisette. 
Figured cretonne overdrapes, introducing gray and rose, will 
complete the scheme. 

Inasmuch as it does not require a great amount of color to 
give the feeling of a pink room, there will be many who will 
prefer the daintier treatment secured by using a delicate 
warm gray for the wall color, introducing pink in the fur- 
nishings; white net curtains, pink or rose overdrapes, ivory 
enamel furniture, stripes with pink and gray, and rose in the 
rugs. 

The Green Room 

The reverse of the scheme just considered, the green-red 
room, presents no such difficulties in obtaining a pleasing color 
balance. Green is known as a static color and does not ma- 
terially affect the apparent position of the surface. Green, as 
generally supplied for decorative purposes, is a very restful 
color. The complement red is, of course, not required in 
full strength, but is supplied through red mahogany woodwork 
or walnut and brown mahogany where the green used is grayed 
and softened in tone. 

Soft olive-green and blue-green grays are reduced forms of 
the analogous tones of green and are admirably suited for 
use as wall colors. With the olive green, represented by our 
wall color Flat-Tone Mixture Buff Stone and Pale Azure, the 
woodwork may be brown mahogany, the curtains buff, with 
figures in blue-green and red-violet, the complementary color, 
and the rug in a figured pattern with rich maroon and warm 
browns predominating. This wall color is very effective when 
handled in the Multi-Color Process, as purer green and cream- 
gray can be applied as an over-pattern most effectively. A 
soft blue-green, such as our Flat-Tone Mixture Bright Sage 
and Pale Azure, will produce a room quite pleasingly out of 

[ Page 113 ] 



the ordinary. The woodwork may be in either ivory-white 
enamel or brown mahogany. The rug will be effective in 
either a dark blue-green, monochromatic harmony, or in dark 
mahogany brown, a dark shade of the complementary color, 
red-orange. The curtains are best in a creamy buff back- 
ground, with orange flowers and touches of yellow-green and 
brown. A dark reddish-brown tapestry brick fireplace will 
add the needed note of accent in both these rooms. 

The Yellow Room 

Yellow is the third color for us to consider. Strange to 
say, yellow, which is our light-producing color, does not lend 
itself readily for use as a general wall color except in extremely 
reduced form. Many a so-called yellow room is in reality a 
yellow-orange room. Ivory, made by tinting white with 
chrome yellow light, is the only true yellow not too intense 
to use. It is, of course, only a very light tint. Tan, a darker 
shade of yellow, is used extensively. This color is similar to 
our Flat-Tone Mixture of Tan and Silver Gray. Violet is the 
complementary color of yellow. A pleasing yellow room would 
be: Ceiling, white; walls, ivory; woodwork, white enamel; 
furniture, white or ivory-white enamel striped in lavender, a 
tint of violet; rag rugs in lavender, white and black. A brilliant 
bowl of Chinese yellow, filled with lavender chrysanthemum, 
would add a delightful touch. The large amount of white 
specified is necessary to enhance the quality of yellow. Violet, 
the complement of yellow, gives us a soft, pleasing wall color 
when grayed down considerably by the addition of white 
and some yellow. We refer to the shade produced by com- 
bining S-W Flat-Tone Shell Pink and Silver Gray. 

This scheme is very satisfactory: Ceiling,' ivory-white; 
walls, gray-lavender; woodwork, ivory-white enamel; furni- 
ture, ivory enamel striped in lavender; curtains in cretonne 
with yellow flowers and black over a background of gray. In 
the Multi-Color Process ivory-gray is stippled over the laven- 
der to produce a still softer effect. 

In this chapter an attempt has been made to give the reader 
information and suggestions which can be put to practical 
use. The subject of color and its relation to our every day 
life is worthy of a lifetime study, as has been previously 
stated. The more one reads and studies along these lines, 
however, the more he is convinced that no set of ironclad rules 

[ Page 114 ] 



can be laid down to cover every case. But if, as someone has 
said, rules are made only to be broken, let us study these 
rules, or principles, so that we may know how to use them 
wnth best results and so we may know when an exception 
may be made with good results. 




[ Page 115 ] 



Chapter X 

Wall and Ceiling Treatment 

THE decorated wall, whether it be in the hotel, club 
or private residence, must possess a certain amount 
of interest or the room will appear bare. In the hotel, 
club or public building, this interest can be supplied by ar- 
chitectural treatment, using more or less elaborate combina- 
tions of pilaster, cornice and panel in ways beyond the means 
of the home owner and usually not appropriate except 
in the larger residence. 

Where interest is not supplied by architectural form, it is 
necessary to provide it through texture and applied decora- 
tion. In wall-paper, for instance, one finds all degrees of 
texture, ranging from pleasing oatmeal papers to the most 
violent patterns imaginable. It is this demand for interest 
and pattern that has militated, in many cases, against the 
painted wall. This is possible only because many people are 
not familiar with the wonderful effects in texture the painted 
wall will give when treated intelligently. 

The eye is readily satisfied with texture indicated by pleas- 
ing contrast in light and dark color and does not demand actu- 
al, tangible texture as in fabrics. Thus a wall may be covered 
with a smooth paint film which can be easily washed and yet 
have a most pleasing visible texture. 

In considering the degree of interest the walls of a room 
should show, it is first necessary to decide, is this a living- 
room where the walls function as a background, or are the 
walls to be a special feature of interest as in a formal reception 
room, parlor or theatre .^ In the theatre or ballroom the expanse 
of wall in so large a room frequently calls for the greatest in- 
genuity in the combining of architectural treatment and the 
use of wall texture and applied decoration. The size of the 
room decides also how fine or coarse may be the effect of wall 
texture. The small room appears still smaller with large 
obtrusive figures leaping out upon one from every wall, 
[Page 117] 



while a large room appears larger and plainer if the texture 
applied to the wall is too fine or close. Where furniture is to 
be placed directly against the wall, however, there should be no 
figuration on the wall that would destroy the outline or bal- 
ance of the furniture. 



Shenvin-}] illiams Flat-Tone Glazing System 

Flat-Tone Glazing System is a method of wall treatment 
developed by The Sherwin-Williams Company, which affords 
most pleasing and interesting effects for wall and ceiling 
decoration. The color plates on pages 74 and 78 show the 
possibilities of this treatment. Flat-Tone Glazing System 
Effects consist, briefly, of a coat of Flat-Tone Glazing Liquid 
applied to the wall over a foundation of S-W Flat-Tone. 
This coat may consist of Glazing Liquid tinted in one, two or 
more colors. When a one-color glaze is used, this color may 
be blended off from dark at the floor to the merest suggestion 
of a tint at the ceiling, or worked out in a uniform tint over 
the entire wall. The blended treatment is very effective, too, 
in panel treatment. 

Glazing Liquid is to be tinted for this work with Flat- 
Tone Glaze and Stencil Colors. These are oil colors supplied 

in tubes and are especially 
suitable for this work be- 
cause of their clearness and 
brilliancy of tone and also 
because of their transparency. 
Any tendency in the Glaze 
Color to become cloudy or 
muddy would mar the beauty 
of this process. Because of 
this rather transparent qual- 
ity of the glaze coat, the tone 
of the underbody color of 
Flat-Tone shows through to 
a considerable extent, producing a rich, luminous depth of 
color, truly beautiful. Texture, in Flat-Tone Glazing System 
Effects, is produced by stippling the glaze coat with a 
crumpled cloth held loosely in the hand. This stippling 
must be done as the glaze coat is applied, or before the glaze 




Tinting the Glazing Liquid tvilh Glaze and 

Stencil Color. The color is broken up in the 

liquid with the brush 



[ Page 118 ] 




Apply the Glaze Color Mixture to the 
wall in generous quantities 



"sets up." This "setting up" may be delayed and the work 

of stippling facilitated by coating 
the wall with clear Glazing Liquid 
immediately before applying the 
tinted Glazing Liquid. The tinted 
liquid should be brushed on in 
generous quantities also. 

Note — Flat-Tone is a washable 
flat oil paint manufactured by the 
Sherwin-Williams Company for ar- 
tistic wall and ceiling decoration. 
A piece of old soft gingham is the 
ideal cloth to use. Cheesecloth, 
frequently recommended, is notdesir- 
able. Experimenting alone will teach 
the beginner the best way to crumple 
and hold the cloth in the hand. A 
smooth pad will give a very fine tex- 
ture and is usually not desired. 
Wrinkling the cloth will roughen the 
texture, and by exerting a twisting 
and lifting motion with the wrist 
most beautiful scrolls may be pro- 
duced. This scroll texture may be 
made as rough as desired. By twist- 
ing the hand without any side motion 
of the arm, the scroll will resemble 
flowers, while a sweeping movement 

will produce a more branching effect. 

Intensity of Cotor 

Tint the Glazing Liquid to ap- 
proximately the depth of color of the 
effect desired. In other words, do 
not make the color darker than the 
finished effect is to be, with the inten- 
tion of stippling most of the color off 
to lighten the effect. This will 
destroy the beauty of texture and 
also not leave enough of a glaze 
film to make a practical wall. 
Where an effect requires more than one color, tint the several 

[ Page 119 ] 




Producing the texture in wall 

color by stippling with 

a crumpled cloth 




Medium scrolls give pleas- 
ing walls 



batches of Glazing Liquid to the same relative strength of 
tone. Then if the room is to have a browner or bluer tone, 
for instance, apply the desired color over larger spaces of 
wall. The two (or more) colors are to be applied simultaneous- 
ly to the wall in adjoining patches. Run the colors together 
somewhat and blend them so that one color will go into the 
other softly, otherwise the wall will appear spotty. This 
blending is to be done with the brush before stippling with the 
cloth. On rough plaster especially it is difficult to "move" 
or blend the color except with the brush. 

Changing the stippling cloth when the wall is in one color 
is not essential except as the cloth becomes too wet -to use. 
When two or more colors are being stippled, it is advisable 
to stipple all the spots of one color, change the cloth to a clean 
surface and stipple the next color, and then go over those 
portions where the colors are blended together. Observing 
t;his practice closely will keep the effect clean and prevent a 
muddied appearance. 

To Blend a Wall Color 

It is possible but not advisable to try to blend a wall in 
any but a one-color effect. Tint the Glazing Liquid to the 
depth of tone desired for the lower 
wall. Pour off about one-third of this 
mixture and add to it an equal 
amount of clear Glazing Liquid. Size 
the wall with a coat of clear Glazing 
Liquid as mentioned previously and 
then apply the lighter mixture, start- 
ing at the ceiling angle and bringing 
the color down to about three or four 
feet from the floor. Brush on the 
darker mixture, carrying the color 
, , „ -.u ,.u I. ^ well up into the lighter tone. Blend 

1 '. Ir<l wall wilhoul the hard ^ '^ 

line between light and dark |-]^g color by brushiug back and forth. 

Start the stippling at the ceiling and work down into the 
darker color. In this manner one can avoid the appearance of 
the "high water" mark or break in the two tones. 

Plain Color Flat-Tone Walls 

Sherwin-Williams Flat-Tone produces equally satisfactory 
results on either rough or smooth plaster or many of the 

[ Page 120 ] 




excellent wall boards on the market. Flat-Tone dries with a 
finish which is soft and velvety in appearance and leaves 
little to be desired where a simple soft tone is wanted. There 
are many rooms in which anything but a most simple treat- 
ment of this type would be very much out of place. In a 
bank lobby, in a formal parlor or reception room, the architect 
frequently makes use of a paneled wall. In a large building 
the panel may be either recessed slightly or may be set off by 
the use of a low relief moulding. Adam style has many 
excellent examples of this. In such a wall it is difficult to imag- 
ine anything but a simple color of Flat-Tone. In almost any 
other type of wall there is considerable advantage to be gained 
through the introduction of texture by the use of the Flat- 
Tone Multi-Color Stipple Process, explained below. The 
rooms of the modern home offer an exceptional opportunity 
to use stippled wall colors. 

Flat-Tone Mnlti-Color Stipple Effects 
The Sherwin-Williams Multi-Color Stipple Process is 
carried out entirely through the use of the regular colors of 
Flat-Tone, which can be combined effectively and for which 
we have prepared careful schedules. A foundation color is 
required, over which is printed a lace work pattern, produced 
by printing the stipple color on to the wall with a sponge. 

Preparation of the Sponge 
The sponge is used very much in the manner of a rubber 
stamp and, like a stamp, will print whatever its printing 

surface or texture happens to be. 
We have found the deep sea wool 
sponges most suitable for Multi- 
Color Stipple work. They seem to 
have the best texture and are tougher 
and wear longer than the more 
common variety of grass sponge. 

The bottom of the sponge is the 
surface to use for stippling. It should 
be trimmed by slicing off with a 
knife. To do this wash the sponge 
out carefully and allow it to dry 
hard. It can be cut very easily with 
a large knife. When being used for stippling, the sponge 
should be wrung out of water and be damp. 

[ Page 121 ] 




A good type of sponge to use 



A one-color slipple 



Colors Required for Stippling 

The colors regularly shown in the Flat-Tone color card 
will produce all the specified Multi-Color Effects. Some of 
these specifications, however, call for mixtures of these regular 
colors. Certain specifications call for two parts of one color 
and one part of another color. These 
measurements should be carefully 
carried out. Use a small cup as a 
measuring unit. Much of the beauty 
of these stippled wall colors depends 
upon the proper degree of contrast 
between the foundation and stipple 
colors. In a large room, where the 
eye is normally at some distance from 
the wall, the stipple may be in a more 
contrasting color. Take the audi- 
torium, for instance, the ball room 
or store. In a room not brightly 
lighted, this contrast may be more noticeable too. Here 
is an example: Multi-Color Stipple Effect number twenty- 
five has for its foundation color Flat- 
Tone Silver Gray. Over this is 
stippled a mixture of Flat-Tone 
Silver Gray and Ivory, equal parts. 
Ivory being the lighter color, will 
make the stipple color lighter as the 
proportion of Ivory to Silver Gray is 
increased. Two parts Ivory to one 
part of Silver Gray would, therefore, 
produce a much more contrasted effect 
when stippled over Silver Gray than 
the regular specification. With but 
few exceptions, however, our regular 
specifications will be found to be most satisfactory. 

Most of the Multi-Color specifications call for the addition 
of one-fourth part Flat-Tone Mixing Size to the stipple 
color. This varnish size causes the stipple color to dry in a 
slightly more transparent color, so that the general tone of 
the wall is softer. Where the effect is desired to be as crisp as 
possible, the size may be omitted and turpentine substituted 
to thin the Flat-Tone slightly. 




A lico-folor slipple 



[ Page 123 ] 



Directions for Applying the Stipple Effects 
The foundation color must first be carefully brushed on. 
Over new walls this foundation recjuires that the first coat 
should consist of equal parts Flat-Tone, in the color specified, 
and Flat-Tone Mixing Size. This is the proportion of size 
required for rough or sand-finish plaster. Hard, smooth 
plaster requires about one-fourth to one-third part Mixing 
Size. Allow the first coat to dry twenty-four hours before 
the second coat is applied, as the paint comes in the can. 
Frequently two coats will be found to be sufficient. Apply a 
third coat if necessary to obtain a good solid covering. Pre- 
pare the stipple color as directed for the effect specified. The 
stipple coat may be applied the same day as the second coat 
of the foundation color, if convenient. 

Amount of Stipple Color Required 

In a home the average room of about twelve by twenty feet 
will require about one quart of each stipple color specified. 
Note: If the color mixture Silver Gray and Cream is specified, 
for instance, one quart of the mixture is meant, i. e., one pint 
of each color poured together and stirred. 

Pour some of the stipple color out on a board, cardboard 
or tin, and rub the bottom of the dampened sponge into this. 
See that the bottom of the sponge is thoroughly covered. 

Tap the sponge on to a dry paper until the sponge appears 
merely moist. It is then ready to stipple on to the wall. 
Having too much paint in the sponge will make a dauby 
print, while using the sponge too dry will produce an uneven 
print and one that is too light. 

Where two or more stipple colors are specified, stipple the 
first color over the entire wall. Clean out the sponge and 
stipple the second color directly over the first. 

To Clean the Sponge 
Wash the sponge out in gasoline and leave submerged 
in a pail of water if the sponge is to be used again the next 
day. Otherwise it is advisable to wash it thoroughly with 
Flaxoap or good laundry soap to prevent the sponge harden- 
ing. It can then be put away for future use or be used for 
any general household purpose. When cleaning out the sponge 
to use in some other stippling color, wash out in gasoline, 
rinse in water to open up the sponge and proceed as before. 

[ Page 124 ] 



Chapter XI 



Stencils 

EVERY decorated room should have some focal point 
of interest, some object, surface, design in which the 
principal colors of the room are gathered together, 
as it were, in purer and brighter tones than is possible in the 
general wall color. In the average room, which has relatively 
simple woodwork, baseboard and moulding, this interest is 
best supplied in the stencil border pattern. 

In a room whose walls are divided in panel treatment the 
interest is supplied by the panel with the possible placing 
of a medallion design in each panel. 

When the architectural treatment includes beamed ceil- 
ing and a heavy cornice, a stencil border is often not needed. 
In cases, however, where there is too great a contrast between 
the wall color and the color of the cornice and beams, as for 
instance, cream walls and cathedral oak woodwork, the 
















L Page 125 ] 



stencil is really necessary to break the hard line and form a 
bridge between the light color and the dark. Where the wall 
color is complex, i. e., a stippled or mottled effect, and contains 
the tones of the woodwork color, the stencil need not be so 
conspicuous. 

The stencil border keeps the center of interest well up in 
the room, good practice especially where one doesn't want 
the furniture and rugs too prominent (see page 50). Simple 
walls, especially in plain colors, give a feeling of a higher 
ceiling because the interest drops down to chairs, tables and 
rugs. Where a spacious feeling is desirable as in the formal 
parlor, small room or display room, the stencil border should 
not be made too prominent or the colors in too high a key. 

The stencil border should not be confused with the free- 
hand design. Each has its own particular advantage and 
either one loses as it attempts to imitate the other. The 
stencilized design must have come from the hands of the 
artist who has taken his motif from some nature form, some 
geometrical or fantasy form, conventionalizing or treating 
it to bring it to the form and style of the decoration. Stencil 
designs which aim at a too naturalistic effect are not true 
to their type and are but poor imitations of the freehand 
mural painter's art. 

Wall Stencils — Their Use and Application 

The stencil has a technique all its own. A stenciled 
design is recognized by the fact that the pattern is usually 
made up of numerous spots of various forms separated from 
their adjoining parts of the design by fairly uniform unpainted 
spaces. This is due to the fact that in cutting the design, the 
different parts of the sheet have to beheld together by ties 
or narrow strips of uncut paper so that the sheet will not fall 
to pieces. 

The clever designer makes intelligent use of this seeming 
limitation and produces patterns in which the stencil tech- 
nique plays an important part. He conventionalizes the 
picture or drawing of a flower, bird, or other object, so that 
while one knows that a picture of the object is no longer 
intended, the design (if a good one) becomes interesting because 
of itself and the agreeable way in which colors and pleasing 
forms have been assembled. In the truly successful stencil 

[ Page 12G ] 



design, the ties holding the different parts together form an 
important part of the interest of the pattern. One cannot 
paint a portrait with a stencil of any object such as a man, a 
flower or a bird. But it is possible to give a rendition of any 
one of these, which if used in a decorative way, will be very 
charming. 

The stencil as used in wall decoration should not be con- 
fused with the art of the mural painter. This artist works 
out his landscapes, figures, flowers, etc., through freehand 
sketching, although frequently making legitimate use of 
pounce patterns to furnish the rough proportions and draw- 
ing of the figure work. His work results in either a more 
or less naturalistic or a fantasy form of the subject. Of 
course many of these artists use block stencil designs, work- 
ing them over by hand with a rather naturalistic effect, in 
which case the stencil serves only as a guide to furnish the 
drawing and ceases to be a stencil design as it is worked over. 

In rendering flowers and other objects, the mural painter 
does not limit himself strictly to nature's own colors. He sees 
nothing amiss in painting blue roses, red tree trunks, an 
ultramarine blue sky, deep lavender shadows, providing he 
can achieve a certain result he has pictured in his mind's eye. 
Of course any mural decoration in which these color effects 
are used, verges upon fantasy, or may even be entirely the 
creation of the artist's fertile imagination. But, rightly con- 
ceived and executed, this is a true decorative art. While it 
is true that the stencil design may be made to approach the 
work just described through handwork, such effects lose 
their stencil technique in proportion as they do take on the 
other character. 

From what has just been stated, it must not be assumed 
that no freehand work is of advantage in the true stencil 
design. Quite the contrary. That handwork, however, 
must only enrich the design and not attempt to modify 
it into a too naturalistic effect. There are many touches 
which may be given that will improve the pattern many 
times over. One may wipe out certain spots to produce a 
"highlight," or shadow, and in other places brighter color 
may be applied for emphasis. But the finished effect must 
have the appearance of applied design and not of oil paint- 
ings of flowers, etc., draped along the wall. 

[ Page 127 ] 




Applying the second color with the 
second part. The first part 
is already on 



Stencils are divided into two types: the block stencil and 
the outline stencil. 

The Block Stencil 

The block stencil gives a complete pattern when applied. 
This type of stencil is usually furnished in as many parts as 

the finished pattern shows colors, 
each part providing openings for 
a certain color. For convenience 
in handling, two colors are fre- 
quently applied from one stencil 
where the openings are separated 
far enough to be brushed easily 
without blurring into the other 
color. In the stencil pattern call- 
ing for two or more parts, guide 
marks are provided so the flowers 
register correctly with leaves, etc. 

There are some very simple designs which look best when 
left just as they are when stenciled on, such as Roman key 
designs, or other small one and two-color patterns which 
would look fussy if worked over too much. The person ap- 
plying the stencil should use careful judgment as to whether 
the circumstances really demand special treatment of the 
stencil design. 

Shading With the Brush 

The amount of paint required to apply a stencil is rela- 
tively small, so that a person can conveniently carry several 
colors on a board or pallette while working. When stenciling 
out a flower, for example, apply the flat color first, which is 
the principal color of the flower. This will frequently be white 
tinted with the required stencil color. With a brush apply 
a darker shade (or a lighter tint according to the appearance 
of the flower in nature) by brushing lightly with a rotary motion 
over the center of the flower. This same principle may be ap- 
plied to the leaves in certain cases. This blending should not 
be overdone, however, or the border will look too spotty. 

Block stencils may be applied in two ways, with opaque 
color or transparent color; both have their place. Any trans- 
parent color becomes opaque as soon as white or some of 

[ Page 129 ] 



the wall color is added. Opaque colors are, of course, neces- 
sary where the design is to be lighter than the background. 
Opaque colors always appear softer and more pleasing when 

they are thinned with 
Glazing Liquid in pre- 
ference to turpentine, 
as they dry with a 
slight sheen and have 







This same stencil showing flower and leaves shaded 



Stencil No. ;oM. a greater depth of 

The block stencil applied simply in two colors color whcrCaS tur- 

pentine frequently 
causes the colors to 
dry "chalky." 

By transparent 
colors we mean our 
regular stencil colors 
thinned to the desired intensity with Flat-Tone Glazing Liquid. 
Transparent colors are always specified for use over 
a glazed wall in Flat-Tone System Effect and for filling in 
outline stencils. In using transparent colors the result 
achieved is a soft, tinted effect, except where the colors are 
used in too full strength, which permits the texture and color 
of the wall to show through somewhat. 

As these colors are fairly thin in consistency, the brush 
should be used fairly dry. Too much color in the brush w^ill 
cause the paint to run under the edges of the stencil and blur 
the design. A little more care is necessary in using trans- 
parent colors so that each repeat will be just as dark as its 
neighbors. 

If good judgment is used excellent results may be obtained 
by varying the color (not depth of color) of the leaves and 
flowers of the stencil design as it progresses around the room. 
The colors used to make the roses redder, more orange, 
grayer, brighter, etc., must be added gradually and the 
variation must be kept within certain limitations. Through 
this expedient, however, greater individuality is obtainable 
and any resemblance to more conventional wall-paper border 
effects avoided. In producing this variation always keep in 
mind the colors of the rugs, drapes, etc. 



[ Page 130 ] 



A Good Precaution 

Lay the stencil face down on a newspaper, after applying 
each length or two of the design, and wipe off the back with 
a soft cloth. Be careful so that the cloth does not catch and 
tear the stencil. 

How Strong to Make the Stencil Color 

Let the stencil be seen and not heard! Do not under any 
consideration make the stencil so strong in color or so large 
in size that it becomes the first and only thing one can see in 
a room. If the stencil is in good color with the wall, each 
will help the other and the stencil will give character to the 
room. The colors should not impress one as too noticeable, 
hard or aggressive in comparison with the other furnishings 
of the room. 

If the stencil design selected seems to be somewhat too 
wide for the size of the room, this defect may be made less 
obvious by keeping the colors in tones which do not stand 
out too sharply from the wall. In garland stencils or in 
designs which divide themselves in upper and lower parts, 
the upper part should be made stronger and the lower part 
softer in tone. The effect then will be of a much narrower 
border. 

The border which is too narrow cannot be helped by the 
reverse treatment, however, as to render it in stronger colors 
would result in its appearing conspicuously small and pinched. 
The stencil commonly known as the binder stencil, fills a 
somewhat different purpose. It is usually used in place of a 
moulding, to frame a wall panel or cover the breaks in the 
wall colors, as between the upper wall and the dado. In these 
cases, the stencil is applied in heavier or stronger colors with 
proper effect. 

The Outline Stencil 

The outline stencil gives one the outline, only, of the 
design so that the filling in of leaves, flowers, etc., is done 
by hand. This type of stencil permits of the very highest 
quality in effect. The outline stencil is generally to be pre- 
ferred for walls finished in a glazed, blended or mottled wall 
finished in the Flat-Tone System Effects. It is not so practical 

[ Page 131 ] 




Applying the Outline Stencil 



to use over a plain color, that is, a wall not glazed or stippled. 

The outline is to be applied in a 
color darker than the wall so 
that it will still show after the 
fill-in colors have been applied. 
This should be allowed to dry 
hard before filling in the other 
colors. As a rule, use one of the 
colors in which the wall has been 
glazed, grayed or neutralized, thin- 
ning as necessary with Glazing 
Liquid. For the filling in, have 
several soft brushes of varying 
widths for convenience, the wide 
brush for the larger spots, and the narrow ones for the 
stems and smaller spots. Fill in the spots of one color 
first, stippling the surface lightly with a cloth to take 
off the surplus color and remove brush marks. Use or- 
dinary care not to brush or rub ^^^^^^^^-^~^^^_ 
the color over the outline so as 
to smear up the background. This 
filling in should move along well 
and not require too much time. 

After the color has set for 
about an hour (more or less accord- 
ing to the rapidity of the drying) 
certain spots can be picked out 
by wiping with a cloth over the 
finger, so as to produce the high lights. Shadows can be 
used very effectively with outline stencils. As a rule, 

these should be brushed on in a 
uniform width under the lower 
right hand edge of each leaf or 
flower stem. They should be 
stippled slightly as applied and 
should not be too dark. The 
effect produced should be that of 
light coming from a certain direc- 
tion and will be found to give a 
greater depth of color and the pat- 

Picking out the high lights tcm Stauds OUt in relief. 




,^^^ 



l^i£^^c> 




Filling in the Outline 




[ Page 133 ] 



Correct Use of the Stencil 

The stencil should be held flat against the surface to be 
decorated. If necessary, a few thumb-tacks can be used to 
prevent the stencil slipping. These will not injure the wall. 

Apply the colors through the 
openings of the stencil to the 
exposed surface with a rotary, 
scrubbing motion, making the 
stencil brush help hold down the 
stencil while it is applying the 
color. A small stencil may 
be held in position with one 
hand while brushing with the 
other. (Illustration page 129). 
Use a regular stencil brush. It 
should be clean and in good 
order. See page 25 on the care of brushes. A short bristle 
brush is best, as the color can be rubbed into the surface to 
be decorated without danger of the bristles spreading and 
working under the edge of the stencil. Stencil brushes may 
be had in various sizes. A brush an inch-and-a-half in diameter 
is best for general work. A half-inch brush is best, however, 
for blending work in a design the size of the one shown in 
illustration on page 130. 




Hold the brush up straight against 
the stencil 



Stencil Paint and its Preparation 

Sherwin-Williams Flat-Tone Glaze and Stencil Colors are 
made for all stencil work over a wall decorated in Flat-Tone 
or an oil paint. Sherwin-Williams Distemper Fresco Colors 
or S-W Decotint are furnished for surfaces finished in water- 
mixed paints. 

Sherwin-Williams Glaze and Stencil Colors have great 
tinting power, being made up in the full strength of the 
various colors, for example; S-W Glaze and Stencil Color 
Emerald Green gives a rich, full emerald hue, not a weak, 
light or grayed color. A tube of these colors, then, goes a 
long way, very little paint being necessary to tint white, 
which is often used as the base for stencil colors. 

This economy, together with their permanency, makes the 
stencil colors desirable for all types of art work. 

[ Page 134 ] 



To Reduce Strength of Color 

The stencil colors, as they come from the tube, are fre- 
quently too dark and intense to use. Reduction to secure a 
lighter tint is therefore necessary. This may be accomplished 
by one of these two methods: (1) Thin with S-W Glazing 
Liquid. (2) Add Stencil White and thin to brushing con- 
sistency with Glazing Liquid. Turpentine, which is a satis- 
factory thinner for most paint, evaporates too quickly for 
stencil work, causing the paint to pile up on the pattern so 
that the stencil is liable to break when cleaning. Glazing 
Liquid helps avoid this, and in addition does not cause the 
stencil to dry too dead as turpentine will do, or too glossy as 
when oil is used for thinning. 

The addition of white causes the Glaze and Stencil Colors 
to become opaque, but is necessary when the stencil color is 
to be lighter than the background. 

How Thick or Heavy to Have the Paint 

If the paint is too heavy to brush on easily, the result 
will appear spotty and will be hard to work. 

When the paint is too thin, it is liable to run under the 
stencil and blur. This may be avoided even with thin paint 
by using the brush fairly dry, with little paint in it. When 
"breaking in" a new stencil, make several prints on a piece of 
wrapping paper, as there is a slight tendency in a brand new 
stencil to run under on the first print. 

Always try out the brush on a board or paper to see that 
both brush and color are working right. 

The Placing of the Stencil 

Stencils of the type shown on page 129 give no dif- 
ficulty to the worker. The border can be started at one 
corner and carried around the room. This is true of any 
stencil which does not separate noticeably into prominent 
spots, large flowers or medallions. Where there are promi- 
nent points of interest, the room will be in better 
balance if these features are centered over the door or other 
conspicuous opening or fixture of the room. Apply the 
stencil at these points and work from there, filling in any odd 
spaces with the leaf part or less important part of the design. 
[ Page 135 ] 



stencil Rules 

The selection as well as the proper placing of the stencil 
pattern to conform to the construction of the room, division, 
etc., is in itself a study. We feel the need of giving fundamen- 
tal rules regarding just this feature of decorating, as the im- 
proper placing has often been called to our attention. 

Rule 1. — Use size of borders which will correspond to the 
proportion of the room. Smaller borders are necessary in the 
low ceilinged room, while the larger designs are required in 
public interiors where the ceilings are often from twelve to 
fifteen feet high. 

Rule 2. — Select the character of the pattern which will 
conform to the character of the room, as for instance, employ 
the more conventional designs in those rooms which are con- 
structed along the severe type, while the more floral patterns 
are suitable in those rooms where the other features give a 
suggestion of beauty of line. 

Rule 3. — Do not use a simple stencil border in a room which 
is to be decorated and furnished in a most elaborate style, 
and vice versa, do not use an elaborate border in a simply 
decorated and furnished room. 

Rule 4. — Do not attempt to introduce a stencil border 
when the wall is of such a character that a pattern will only 
detract from the appearance. This is true with the wall 
which is so much broken and cut up by window and door 
spaces, other fixtures, etc., that unless the stencil is especially 
designed for the particular room, it cannot be used with any 
great amount of freedom. Panel work in some cases is ad- 
visable under such conditions, but special stencil patterns 
must be designed for this work. 

Rule 5. — The color for the stencil has been mentioned 
previously. As a rule, stronger colors are best for small 
borders. For the larger border, colors which harmonize with 
the wall color to a greater extent, are desirable. 

Other Interesting Uses for Stencils 

The Japanese are probably the most skilled of all artisans 
in stencil cutting. They have, in fact, made the stencil it- 
self a work of art, entirely independent of the stencil print. 
Paper is used very similar to our heavy manila wrapping 

[ Page 188 ] 



, paper. This is stained in dark antique effect, using burnt 
umbers. The stencil when cut and completed is mounted 
over bright colored silk and framed. The effect and work- 
manship are wonderfully beautiful. Many of these stencils 
resemble lace rather than stencils, so finely are they cut, the 
design covering practically the entire space. Many of these 
stencils are so fragile that the ties are re-enforced by hair 
stretched across at intervals and cemented on. These de- 
signs (defying our Occidental patience to reproduce) make 
splendid framed exhibits or can be used for tea wagons and 
trays, covered with glass. 

Hand decorated velvets and curtainings will always be 
in demand. Periodically there is a craze for this type of work 
which usually plays itself out through being done to death, 
and also because of poor results produced through lack of 
skill. Hand stenciled velvets and curtains fall into the same 
class as hand blocked wall-papers and fabrics, and do not 
lend themselves to quantity production. Hand stenciled 
fabrics can, of course, vary in color in the repeats which gives 
this work a distinctive quality, not found in printed goods. 

Either a border or an all-over pattern may be used. The 
colors employed need not be run uniform over the entire 
piece. The variation should, of course, be kept within certain 
limitations, and where a red, for instance, is blended into a 
red-orange, the blending should be gradual. This may be 
accomplished by taking on a small amount of the red-orange 
with the brush along with the red, without any great effort 
being required. This is true of other colors also. A knowledge 
of the simple rules of color harmony will .help make the right 
choice of colors to use in blending. 

If interested in stencil patterns write to the Department 
of Decoration, The Sherwin-Williams Co., 601 Canal Road, 
Cleveland, Ohio, and ask for complete stencil catalogue. 



[ Page 139 ] 



Specifications follow covering the color plates shown in 
the preceding pages: 

A Neighborhood of Homes 

The variety shown in the types of houses in this neigh- 
borhood of homes is possible to reproduce "any where at will. 
If a person purchases a lot and intends to build in a neigh- 
borhood where there are already a number of homes of good 
design, it is really incumbent upon him to give most careful 
consideration to the selection of type in the home he is to 
build. He will not be limited to only one style, but there will 
probably be several styles he ought not to build — good in 
themselves but not suitable when considered in relation to 
his neighbors' homes. 

Even though the most appropriate style of building might 
be a possible second choice as far as personal preference is 
concerned, the improved neighborhood or group effect would 
result in increased value for every house. The same is true 
of the painting treatment. Even though every person in 
the neighborhood preferred the all white treatment in paint- 
ing, the result would be unfortunate if all houses were white. 
They would all become soiled with weather and would pre- 
sent a very shabby street scene. White, or any color for that 
matter, is interesting only as shown in some pleasant associa- 
tion with other tones which will improve it and in turn are 
improved themselves. 

America has made a very definite contribution to archi- 
tecture in the Colonial home. There are — broadly speaking — 
three general types. One type is traced back to the style 
home of which we still have many splendid specimens, whose 
sturdiness has survived the ravages of wind and rain for all 
these years. This type was popular in the northern states. 
A modern reproduction of this style is shown as the center 
home in our plate on page 16. 

The Southern Colonial mansion made free use of the 
column with splendid effectiveness and also gave us, very 
largely, our American love of the porch or veranda. The 
southern house made very general use of the second floor 
porch also, or balcony. 

The third type we call the Dutch Colonial house, which is 
characterized by the hip roof. This broken roof provides 
for more space in the upper story than could be had with a 

[ Page 140 1 



straight roof. The small gray shingle cottage to the right in the 
plate on page 12 is a modern rendering of this type. The 
cobblestone chimney gives promise of a deep-throated fire- 
place within and cosy winter evenings. 

The home at the left is a virile example of the modern use 
in architecture of primitive types. The gables with their 
trimmed peaks remind one strongly of the English thatched 
roof. The stucco walls may be trowelled smooth or given a 
sandfloat finish which produces a more interesting texture and 
light effect. 

Specifications 
House at the left: 

Roof CoIor—S-yV Preservative Shingle Stain B-41. 
Body Color — S-W Concrete Finish Cream. 
Trim Co/or— SWP 388 Modern Brown. 
Sash Color— SWF 496 Ivory. 

Front Door — S-W Handcraft Stain Brown Oak, protected with S-W 
Rexpar Varnish. 

Center House: 

Roof Color — S-W Preservative Shingle Stain C-74. 
Body and Trim Color — SWP Outside Gloss White. 
Front Door and Benches — S-W Old Dutch Enamel White. 
Blinds— SWF 461 Willow Green. 

Alternate Scheme: 

Roof Color — S-W Preservative Shingle Stain B-41. 

Body and Trim Color— SWF 496 Ivory. 

Sash Color and Blinds — SWP 355 Sage Green. 

House at the right: 

Roof Color — S-W Preservative Shingle Stain C-72. 
Body Color — S-W Preservative Shingle Stain C-82. 
Trim and Sash Co/or— SWP Gloss White. 
Blinds— SWF 498 Moss Green. 

The Bungalow Home 

Although the California background makes these homey 
little bungalows doubly attractive, the lover of our eastern 
scenery will place them as effectively wherever he "builds 
his nest." 

A gratifying sign of the times is the growth of community 
plannings. Many contractors and building companies plan 
and build entire neighborhoods with a view toward securing 
harmony in style and painting treatment. Such practice 
insures every individual home of appearing its best, both 
alone and in the neighboring group of houses. 

[ Page 141 ] 



Specifications 
House at the left: 

Roof Color— S-W Preservative Shingle Stain C-72. 
Body Color — S-W Preservative Shingle Stain B-47. 
Trim Color— SWF 391 Quaker Drab. 
Front Door — Same as trim color. 

Center House: 

Roof Color — S-W Preservative Shingle Stain B-41. 
Body Color — S-W Concrete Finish Cream. 
Trim Co/or— SWP 499 Antique Brown. 

Front Door — S-W Handcraft Stain Fumed Oak, protected by S-W 
Rexpar Varnish. 

House at the Right: 

Roof Color — S-W Carbolic-ol Shingle Stain, Extra Dark. 

Body Cofor— SWP 496 Ivory. 

Trim Color— SWF 355 Sage Green. 

Front Door — S-W Golden Oak Stain, protected with S-W Rexpar. 



A Small English Stucco Residence 

To the person who has an appreciation of architectural 
values, the simple quaintness of this little home with its 
English casement windows and Gothic door, would be a 
constant source of delight. 

The concrete bird basin has been made the center of in- 
terest in a clump of formal dwarf evergreens. It will provide 
an interesting spot both in itself and the bird life it will bring 
to the lawn. 

Specifications 

Body Color — S-W Concrete Finish Extra Light Gray. 

Trim Color — Window Casings and Sash, SWP 496 Ivory. 

Door — S-W Handcraft Stain Weathered Oak, protected with S-W 

Rexpar Varnish. 
Roof Color — S-W Preservative Shingle Stain B-41. 



A Home in Colonial Yellow 

A dominant feature of the old Colonial homes that have 
come down to us, is the scrupulous care bestowed upon the 
detail of doors and entryways, cornice, paneling, etc. Our 
best makers of standard millwork have caught the spirit so 
that one may now secure very creditable pieces for the modern 
Colonial residence, 

[ Page 142 ] 



Good design is the element of architecture which never 
goes out of style, and we are only beginning to come to a 
true appreciation of the value of our old colonial architecture 
and the lessons it still holds for us. 

The brick walk adds a touch of color texture and is less 
formal then plain flagging would be. 

Specifications 

Roof Color — S-W Preservative Shingle Stain B-41. 
Body Color— SWF 375 Colonial Yellow. 
Trim Co/or— SWP Outside Gloss White. 
Front Door— S-W Old Dutch Enamel White. 
Blinds— SWF 498 Moss Green. 

A Cosy Little Farm Cottage 

The last few years have brought about the most remark- 
able change in the type of farm homes. Freer communication 
and transportation facilities have brought about a wider 
interchange of ideas, so that the principal difference between 
the modern farm home and the city residence is that the 
farm home has decidedly the better setting of the two. With 
more people passing his door in a day now than formerly 
went by in a month, the farmer naturally has a greater in- 
centive, pride and pleasure in having a real home, than ever 
before. Any one of the homes shown in this volume, there- 
fore, is just as much a farmer's home as a city or suburban 
residence. 

Specifications 

Roof Color — S-W Preservative Shingle Stain C-74. 
Body and Trim Color— SWF Outside Gloss White. 
Blinds— SWF 461 Willow Green. 
Barn and Wood Silo — S-W Commonwealth Barn Gray. 

A Comfortable Living- Room 

A glowing log in the fireplace, a great big arm chair, your 
favorite book and the soft light of the reading lamp by your 
shoulder — who could ask for more on a long winter evening? 

The Colonial built-in bookcase can be furnished ready to 
install by our modern makers of fine mill work. The mantel- 
piece would, we think, be just as interesting done in tapestry 
brick as in the marble or sandstone of our illustration. The 
polychrome candlesticks may be wired for electric lamps 

[ Page 14.3 ] 



and furnished with parchment shades with wonderful effect. 
Parchment shades provided for the candelabra too, will pro- 
vide a softer and more diffused light than the open fixture. 
Specifications 

Ceiling Color — Sherwin-Williams Flat-Tone Ivory White. 

Wall Color — Flat-Tone Mixture Silver Gray and Caen Stone or Flat-Tone 
Multi-Color Stipple Effect No. 26, requiring Flat-Tone Silver Gray 
and Caen Stone equal parts foundation color, stippled with Flat- 
Tone Silver Gray and Cream. Put on with sponge. Thin with 
one part Mixing Size to three parts Flat- Tone. 

Woodwork, Oak — Sherwin-Williams Handcraft Stain Brown Oak. Sher- 
win-Williams Scar-not Varnish (see page 53). 

Floor, Oak — Protected with Sherwin-Williams Mar-not Varnish. 

A Dainty Room in Ivory Tan and Blue 

Here is a suite of rooms which would be the delight of any 
girl, and the girl's mother too, for that matter. The sunshine 
in this room was put there when the colors were chosen for 
the walls, the friendly ivory of the enameled woodwork and 
furniture, and the genial warmth of the pongee curtains. 
Deep blue rugs always give a feeling of richness when combined 
with old ivory. 

Specifications 

Ceiling Color — Sherwin-Williams Flat- Tone Ivory White. 

Wall Color— Flat-Tone Ivory Tan or Flat-Tone Multi-CoIor Stipple 
Effect No. 40, requiring Flat- Tone Ivory Tan foundation color, 
stippled with Flat- Tone Silver Gray 2 parts, Cream 1 part. Put on 
with a sponge. Thin with 1 part Mixing Size to 3 parts Flat-Tone. 

Stencil Border — Design No. 7071 applied with S-W Glaze and Stencil Colors. 
Stems, Japanese Brown; Leaves, Olive Lake, Raw Sienna and 
White, equal parts; Bird, White, tinted with Rose Lake and Black. 

Woodwork — Sherwin-Williams Old Dutch Enamel Ivory White. 

Floor, Oak — Protected with S-W Mar-not Varnish. 

Rug — Deep blue in solid color. 

Curtains — Pongee. 

Furniture — Ivory White Enamel striped with rose. 

Adjoining Room 

Ceiling Color — Sherwin-Williams Flat-Tone Caen Stone. 

Wall Color— Flat-Tone Shell Pink reduced with Flat-Tone White. 

Colonial Bedroom 

There is a sincerity in the treatment of this bedroom that 
is refreshing. The honest and sturdy furniture speaks for 
comfort and service. The stippled wall has been made prom- 
inent so as to show the texture one would not find except 
at closer observation. The wall may be made darker or 
lighter as desired. 

[ Page 144 ] 



Specifications 

Ceiling Color — Flat- Tone Ivory White. 

Wall CoZor— Flat-Tone Multi-Color Stipple Effect No. 34, requiring Flat- 
Tone Pearl Gray foundation color, stippled with Flat-Tone Caen 
Stone 1 part and White 2 parts. Put on with a sponge. Thin 
with turpentine. (Foundation color, Pearl Gray, may be tinted 
shghtly with Flat-Tone Pale Azure). 

Stencil Design— No. 7054, requiring the following colors: Leaves, White 
tinted with Raw Sienna; Flowers, White tinted with Cobalt. 

Woodwork— Old Dutch Enamel Ivory White (see page 60). 

FlooFi Oak — Protected with Mar-not Varnish (see page GT"). 

Furniture — Dark Colonial Mahogany (see page 53). 

Drapes and Lighting Fixtures — Figured silk or cretonne. 

Curtains — White net. 

Rag rugs — In blue and black. 

Adjoining Room 

Ceiling Co/or— Flat-Tone Caen Stone. 

Wall Co/or— Flat-Tone Multi-Color Stipple Effect No. 29, requiring Flat- 
Tone Silver Gray and Shell Pink foundation color, stippled with 
Flat-Tone Silver Gray 2 parts and Ivory 1 part. Put on with a 
sponge. Thin with 1 part Mixing Size to 3 parts Flat-Tone. 

A Colorful Dining-Room 

Perhaps you experience the same pleasure we felt upon first 
seeing the satisfying richness of color displayed in this dining- 
room. One can see that the blue fruit bowl is a prized posses- 
sion and deserves its place of honor. The intense color of the 
candlestick shades, fruit dish and upholstery of the chairs 
can retain their full value and effectiveness only when pro- 
perly supported by the heavier values of the wall color and 
rug. Birch woodwork was indicated in this room, stained in 
Antique Brown Mahogany, which takes so well on birch. 

Specifications 

Ceiling Color — Sherwin-Williams Flat-Tone Ivory or Ivory White. 

Wall Color—S-yV Flat- Tone Buff Stone or S-W Flat-Tone Svstem Effect 

No. 3. Flat-Tone System Effect No. 3, requiring Flat- Tone Ivory 

and Glaze Color Japanese Brown. 
Woodwork, Birch~S-W Acid Stain Brown Mahogany, No. 700, protected 

with S-W Scar-not Varnish. 
Floor, Oak— S-W Golden Oak Paste Filler; S-W Mar-not Varnish. 



[ Page 145 ] 



Specifications 
The Little Gray Cottage 

Roof Color — Sherwin-Williams Preservative Shingle Stain A-21. 
Body Color — Preservative Shingle Stain C-82. 
Trim Color— SWP 496 Ivory. 

A Man's Room 

Ceiling Color — S-W Flat-Tone Silver Gray and Cream. 

Wall CoZor— S-W Flat-Tone Buff Stone and Pale Azure. 

Woodwork and Beams — S-W Handcraft Stain Green Weathered Oak or 
Sherwin-Williams Acid Stain Silver Gray with a toner of Flat- 
Tone Buff Stone and Pale Azure, equal parts (see page 57). 

Floor (Stained) — S-W Handcraft Stain Cathedral Oak, S-W Mar-not 
Varnish. 

Floor Lamp — Metal standard with shade of mottled parchment paper. 

Furniture — Figured tapestry, velour. 



A Homey Living- Room 

Ceiling Color — Sherwin-Williams Flat- Tone Ivory White. 

Wall Color — Sherwin-Williams Flat- Tone System Effect No. 36, requiring 
a foundation color of Flat-Tone Caen Stone. Over this are applied 
two mixtures of Flat-Tone Glazing Liquid tinted with Flat-Tone 
Glaze and Stencil Colors Ivory Drop Black and Burnt Sienna 
respectively. These colors are applied to the wall and stippled 
with a crumpled cloth to produce texture (see page 118). 

Stencil Border — Design No. 3009 outline applied with Glaze and Stencil 
Color Raw Umber and filled in with Glaze Colors Olive Lake, Raw 
Sienna and Orange Lake (see page 125 on stencils). 

Woodwork Trim — Sherwin-Williams Old Dutch Enamel Ivory White. 

Doors, Birch — Sherwin-Williams Acid Stain Permanent Mahogany No. 
700, Antique Brown, protected with Sherwin-Williams Scar-not 
Varnish. 

Floor, Oak — Sherwin-Williams Oak Paste Filler, Mar-not Varnish. 

Rug — Figured brown. 

A Dining- Room in the Spirit of Old Colony Days 

Ceiling Color — Sherwin-Williams Flat-Tone Ivory White. 

Wall Color — Sherwin-Williams Flat-Tone System Effect No. 29, requiring 
a foundation color of Flat-Tone Caen Stone. Over this are applied 
two mixtures of Sherwin-Williams Flat-Tone Glazing Liquid, 
tinted with Flat-Tone Glaze and Stencil Colors Japanese Brown 
and Cobalt Blue respectively. These are stippled with a crumpled 
cloth to produce texture (see page 118). 

Stencil Border — Design No. 7055, applied with Sherwin-Williams Glaze 
and Stencil Colors: Outlined with Raw Sienna and filled in with 
Raw Sienna, Olive Lake and Orange Lake. 

Woodwork — Sherwin-Williams Old Dutch Enamel Ivory White, with 
carpet strip in Handcraft Stain Extra Dark Mahogany. 

Floor, Oak — Oak Paste Filler, Mar-not Varnish. 

Rug — Solid color dull green. 

[ Page 146 ] 



Specifications 
A Charming Living- Room in Gray and Green 

Ceiling Coloi — Sherwin-Williams Flat-Tone Ivory White. 

Wall Co/or— Sherwin-Williams Flat-Tone Multi-Color Stipple Effect No. 
25, requiring Flat- Tone Silver Gray foundation color stippled with 
Flat-Tone Silver Gray and Ivory. Put on with a sponge. Thin 
with 1 part Mixing Size to 3 parts Flat-Tone. 

Stencil Border — Design No. 7051, applied with White tinted with Flat- 
Tone Glaze and Stencil Color Deep Olive for the leaves; White 
tinted with Rose Lake for the flowers. 

Floor, Oak — Sherwin-Williams Oak Paste Filler, Mar-not Varnish. 

Rug — Dark blue-green. 

A Cheerful Dining-Room in Modern Treatment 

Ceiling Color — Sherwin-Williams Flat-Tone Ivory White. 

Upper Wall Co/or— Sherwin-Williams Flat- Tone Multi-Color Stipple Ef- 
fect No. 40, requiring Flat-Tone Ivory Tan foundation color, 
stippled with Flat-Tone Silver Gray 2 parts, Cream 1 part. Put on 
with a sponge. Thin with 1 part Mixing Size to 3 parts Flat- Tone. 

Stencil Border — Design No. 7072 applied with S-W Glaze and Stencil Colors; 
Flower centers, Orange Lake 1 part, Raw Sienna 1-6 part and 
White 1 part. Leaves, White tinted with Raw Sienna and Cobalt. 
Stems, White 1 part. Cobalt 1-8 part, and Raw Sienna 1-16 part. 
Flowers, Cobalt 1-2 part and White 1 part. 

Lower Wall Color — Sherwin-Williams Flat-Tone System Effect No. 27, re- 
quiring Flat-Tone Silver Gray and Pale Azure foundation color, 
stippled with Flat-Tone Silver Gray 2 parts and Ivory 1 part. 
Put on with a sponge. Thin with 1 part Mixing Size to 3 parts 
Flat-Tone. 

WoodworkS-W Old Dutch Enamel White. 

Overdrapes — Figured cretonne. 

Rug — Solid color, deep Chinese blue. 

A Bathroom in Soft Sea Green 

Ceiling and Walls — S-W Flat- Tone Lichen Gray. 

Woodwork and Wainscoting — Old Dutch Enamel Ivory White. 

Floor — Figured linoleum, protected with S-W Mar-not Varnish. 

A Hospitable Hall 

Ceiling Color — Sherwin-Williams Flat-Tone Ivory White. 

Wall Co/or— Sherwin-Williams Flat-Tone Cream or Flat - Tone Multi- 
Color Stipple Effect No. 32, requiring Flat- Tone Cream foundation 
color stippled with Flat-Tone Ivory for 1st mixture; 2nd mixture: 
Flat- Tone Silver Gray 1 part and Cream 2 parts. Put on with a 
sponge. Thin with 1 part Mixing Size to 3 parts Flat- Tone. 

Woodwork Trim and Step Risers — Sherwin-Williams Old Dutch Enamel 
White. 

Doors, Stairlreads, Handrail, Birch — Sherwin-Williams Acid Stain Perma- 
nent Mahogany No. 700, protected with Sherwin-Williams Scar-not 
Varnish, Mar-not Varnish for stairtreads. 

Floor, Oak — Oak Paste Filler, Mar-not Varnish. 

Furniture — Dark Colonial Mahogany. 

Rugs — Oriental or Anglo-Persian. 

[ Page 1 47 ] 



Specifications 
A Happy Treatment for the Dutch Colonial House 

Roof Color — S-W Preservative Shingle Stain B-41. 

Body Color—SWF 496 Ivory. 

Trim Color and Blinds — SWP 461 Willow Green. 

A Living-Room in Old Ivory, Blue and Mulberry 
Ceiling Color— S-W Flat-Tone Ivory White. 
Wall Color — Flat- Tone Ivory Tan or Flat-Tone Cream and Ivory, equal 

parts. 
Woodwork, Birch — Finished in Permanent Mahogany Stain No. 700, 

Antique Brown, protected with Scar-not Varnish (see page 49). 

Floor — Finished in Oil Stain Walnut, protected with Mar-not Varnish 

(see page 49). 
Furniture (Jacobean) — Oak table protected with Scar-not Varnish, Cabinet 

finished in Velvet Finish No. 1044. Chairs upholstered in velour. 
Rug — Solid color deep blue. 
Floor Lamp — Shade finished in a two-color glaze effect requiring Glaze 

Color Italian Blue and Alizarine Green. 
Mantel — Finished in Old Dutch Enamel Ivory White, wiped in Glaze 

Color Raw Sienna and Japanese Brown, equal parts. 

Dining- Room in Gray 

Ceiling Color — Flat-Tone Caen Stone. 

Wall Co/or— Flat-Tone Multi-Color Stipple Effect No. 25, requiring Flat- 
Tone Silver Gray foundation color stippled with Flat- Tone Silver 
Gray and Ivory. Put on with a sponge. Thin with 1 part Flat- 
Tone Mixing Size to 3 parts Flat- Tone. 

Woodwork — Old Dutch Enamel White (see page 60). 

Floor, Oak — Protected with Mar-not Varnish. 

Furniture (Jacobean) — American walnut finished in Handcraft System 
Effect No. 40 (see page 57). 

Rug — Solid color, deep maroon. 

Breakfast Room in Blue and Tan 

Ceiling Color— S-MV Flat-Tone Ivory White. 

Wall Color— S-\\ Flat-Tone Ivory Tan— Alternative wall color, Flat- 
Tone Cream. 

Floor, Oak — Protected with Mar-not Varnish — Alternative floor treatment, 
Battleship linoleum in shade of Tete de Negre, protected with 
Mar-not Varnish. 

Table and Windsor Chairs — Finished in Enameloid Sky Blue. 

Curtains — White cretonne figured in dull orange and blue. 

A Kitchen in Ivory and Blue 

Ceiling and Walls — Enameloid Ivory White. 

Wainscoting, Keene's Cement — Old Dutch Enamel Gloss White. 

Floor — Checkered blue and white linoleum protected with S-W Mar-not 
Varnish. 

Note: Mar-not Varnish will make the linoleum easier 
to wash up and will protect the figure and prevent its wear- 
ing shabby (see page 75.) 

Drain Boards — White porcelain. 

Curtains — Figured cretonne. 

[ Page 148 ] 



Chapter XII 

Miscellaneous Interior Finishing 

A WONDERFUL opportunity exists to give the home 
a pleasing, harmonious and distinctive atmosphere 
through the intelHgent use of paint and varnish 
materials on the little things about the house. Many articles 
which do not exactly correspond with the present scheme of 
decoration, or which may be a little out of date, may be re- 
finished in appropriate modern effect with very little trouble. 

Hard wear and occasional accidents also cause certain 
pieces of furniture to become worn and marred so that they are 
not up to the general standard of the room. A coat of varnish, 
stain, enamel or whatever may be necessary will brighten up 
these pieces, and make them look practically like new again. 

Then, too, almost every home has stowed away in the 
attic or storeroom discarded articles which have seen better 
days. These can be transformed into beautiful and useful 
pieces of furniture, with a little paint or varnish, enamel, 
stain, aluminum, gold, etc. 

And the best part of it all is that this work is easy, quick 
and interesting, and the cost of the small amount of paint 
necessary, immaterial. 

Following are some suggestions for the treatment of "little 
things about the house" which will indicate the possibilities 
in this direction in every home. 

Andirons, Ornamental Iron, Etc. 
For these surfaces use S-W Flat Black. It comes ready for 
use and should be applied in one or two coats with a brush. 
Also suitable for use on wooden surfaces to give the effect of 
wrought iron. 

Bath Tubs, Refrigerators, Sinks, Etc. 
Metal lined bath tubs, refrigerators, sinks, etc., should 
be kept protected with the heavy porcelain-like, water and 
germ-proof surface which S-W Bath Enamel will give them. 

[ Page 149 ] 



Before applying, clean thoroughly and wipe off with a 
cloth saturated with benzine to remove all grease and soap 
deposits. Rub surface with fine sandpaper or with pumice- 
stone until it is smooth so that the enamel will more easily 
adhere. Stir enamel thoroughly from bottom of can and 
apply with a fitch or soft bristle brush, spreading evenly, 
and in thin coats. Allow about twenty-four hours for each 
coat to dry, and for best results, sandpaper lightly, with fine 
finishing paper or moss, between coats. Three coats are 
necessary if a porcelain-like surface is desired. Several 
days should be allowed after the last coat has been applied 
before permitting water to touch the surface. Then run cold 
water in first to assist it in hardening. If the enamel is too 
heavy to work freely, thin it slightly, using about a pint of 
turpentine to a gallon of enamel. Keep the enamel well 
covered when not in use. 

For tubs not previously enameled or on bare spots, a coat 
of Bath Enamel Ground should be given and allowed to stand 
forty-eight hours before applying Bath Enamel. 

Bedsteads 

Bedsteads may be refinished to correspond with the 
decorative scheme of any room, or if marred and worn, 
may be made like new again with S-W Enamel or Enameloid. 
White, black and many attractive colors. Full directions for 
enameling will be found on page 60. 

Chairs 

Chairs permit of many pleasing methods of decoration, 
depending upon the style of chair, the corresponding furnish- 
ings, the preference of the owner, etc. For instance, chairs of 
the light, daintily constructed type may be finished in gold 
or aluminum or in dainty pink, blue or gray or ivory enamel to 
harmonize with the decoration and furnishings. Large arm 
chairs, morris chairs, etc., may be finished in Handcraft 
Stain Effects, as desired. Wicker chairs may be finished with 
S-W Enamel or Enameloid, Varnish Stain or Clear Varnish. 
Dining room chairs may be varnished. Information regarding 
enameling, varnishing, etc., will be found on pages 48 and 60. 

[ Page 150 ] 




The allic may be made very allraclive with pre- 
viously discarded furniture made to look like 
new again with a Utile paint and varnish 



Clothes Closets 

Clothes closets are usually dark, unattractive places. They 
can be made just the opposite. A window to flood the room 
with sunshine and permit frequent airings, an electric light 
to make it easy to see at night and on dark days, and a coat 
of S- W White Enamel or S-W Flat-Tone Ivory or Ivory White 

on the walls, will make the 
clothes closet a most at- 
tractive little room, light, 
sanitary and convenient 
to use. Full directions for 
enameling on page 60. 

Library and Dining- 
Room Tables, Etc. 

Dining-room and libra- 
ry tables and other similar 
pieces of furniture may be 
refinished if directions are 
followed carefully; al- 
though with very fine articles it is better to employ an 
expert finisher. Full directions for finishing will be found 
on pages 47 to 66. 

Fixtures 

Fixtures of all kinds can be made to harmonize with deco- 
ration and furnishings with suitable paint or varnish products. 

Pretty and dainty effects can be obtained with S-W 
Aluminum Paint, S-W Empress Liquid Gold, which is put 
up ready for use, or S-W Imperial Gold Enamel, which comes 
with powder and liquid separate and is mixed by the user. 
Subdued or contrasting effects as desired may be obtained 
with S-W Flat-Tone; and more modest effects may be ob- 
tained with S-W Black Enamel or Flat Black. Full directions 
for enameling will be found on page 60. 

Furniture 

Furniture of all kinds that is worn or marred may be easily 
refinished by the housewife with S-W Floorlac, which 
produces a beautiful stained and varnished effect in one 
operation. On surfaces previously finished with varnish stain 



[ Page 151 ] 



or varnish, simply sandpaper with 00 sandpaper and apply 
the Floorlac. If surface is in very bad condition or has been 
previously painted, apply a coat of S-W Floorlac Ground 
before applying the Floorlac. 

Fine pieces of furniture, however, such as pianos, victrolas, 
fine dining-room sets, library tables, etc., should not be at- 
tempted by those without practical experience and an expert 
finisher should be employed to do this work. 

Radiators, Boilers, Water Pipes, Etc. 

There are several kinds of finishes which can be used on 
these surfaces. Where a metallic effect is desired, S-W Liquid 
Gold or S-W Aluminum Paint may be employed. One coat 
of this material should give a satisfactory surface. For 
best results, apply when the surface is slightly warm, and 
after use allow at least twenty-four hours before subjecting 
to high temperature. 

If a finish matching enameled woodwork is desired, use 
S-W Enamel or S-W Enameloid in the desired tint as directed 
for woodwork, page 60. When the radiators are new and 
have not been given a priming coat at the factory, S-W Gal- 
vanized Iron Primer is necessary as a first coat (before building 
up the undercoating of flat paint) . 

Where the radiators are to be finished to match the walls, 
employ one of the following methods: (a) If the surface 
was never painted, apply S-W Galvanized Iron Primer, and 
in twenty-four hours, apply second and third coats of S-W 
Flat-Tone and a coat of S-W Glaze Color thinned with S-W 
Glazing Liquid as directed on page 118 for glazing walls; (b) 
Apply S-W Aluminum Paint or S-W Empress Liquid Gold, 
and after twenty-four hours, use S-W Glaze Color thinned 
with S-W Glazing Liquid as directed for last coat in mottling 
walls, page 118. 

Stove- Pipes 

Old stove-pipes, grates and similar iron surfaces subjected 
to heat may be refinished with S-W Stove Pipe and Iron 
Enamel. Should be applied when the surface is slightly 
warm and allowed to dry at least twenty-four hours before 
subjecting to a high temperature. This material produces 
little, if any odor, which entirely passes away after the first 
time of heating. 

[ Page 152 ] 




Tfie housewife spends much lime in the kHrhen. 
II should h'' co:y and allraclire 



Shelves, Flower Boxes, Cupboards 
These little things may be finished in a variety of ways to 

suit the taste and the re- 
quirements in each case. A 
painted finish in almost any 
desired color may be ob- 
tained with S-W Family 
Paint or S^YP. If an 
enameled finish is desired, 
S-W Enamel or S-W 
Enameloid may be used, 
in white, black or one of 
the pretty shades of blue, 
pink, green, gray, ivory, 
etc. Or if a flat finish is 
wanted, S-W Flat-Tone in 
white or colors may be 
used. Full directions for enameling will be found on page 60. 

Toys 

Some of the more elaborate toys — rocking-horses, wagons, 
etc., may l)e brightened up now and then with a little S-W 
Family Paint, SWP, Floorlac or Scar-not Varnish, as desired. 

Window Sills, Wainscoting, Baseboards, Etc. 

Window sills are subjected to unusual conditions because 
of rain and extremes of temperature, and wainscotings, base- 
boards, etc., Ijecause of scrubbing and mopping the floors. 
S-W Rexpar Varnish is the best varnish to use for such work, 
as the service required approximates the conditions found 
out-of-doors. It will pay to touch up the window sills, also 
window frames and casing, at least once a year. Full direc- 
tions for varnishing will be found on pages 49 to 52. 

Making the Basement Attractive 
The basement can be transformed into a light, attractive 

and sanitary room through the use of paint and varnish 

products. 

Walls and Ceilings — Painting the walls and ceiling white is 

the biggest thing that can be done to improve a basement. 

S-W Egg-Shell Mill White is the best material to use for this 

[ Page 153 ] 



purpose. It is an oil paint which gives a very durable, ex- 
tremely white finish and can be used on rough lumber, stone 
or brick walls and metal surfaces alike. More moderate 
priced materials, which give excellent results for the same 
purpose, are S-W Kalso, a hot- water paint, and S-W Decotint, 
a cold-water paint, both of which come in dry powdered 
form and only require to be mixed with water for applica- 
tion. May be applied to any clean interior surface — rough 
lumber, stone or brickwork, metal, plastered walls, etc. 

Cement or Concrete Floors — -An attractive painted finish may 
be produced with S-W Concrete Floor Paint, a line 
of eight colors developed especially for use on concrete and 
cement. If trouble is experienced from dusting or lack of 
waterproof qualities, another treatment entirely should 
be used, that of hardening the floor by means of S-W Concrete 
and Cement Hardener. This is a liquid preparation, clear in 
color. Full directions for the treatment of cement surfaces 
will be furnished on application to The Sherwin-Williams 
Co., 601 Canal Road, Cleveland, O. 

Piping — Pipes of all kinds may be made more attractive 
in appearance with a coat of S-W Aluminum Paint. 

Stationary Tubs — Stationary wash tubs also may be made 
attractiv^e in appearance by painting the outside with S-W 
Aluminum Paint. If a white finish is preferred S-W Egg- 
Shell Mill White may be used, which will not rub off on 
clothing. 



[ Page 154 ] 



Chapter XIII 

Miscellaneous Exterior Finishing 

HOUSE Painting, as the term is commonly applied to 
the exterior painting of wooden buildings with an 
oil gloss paint, is taken up in detail in Chapters II, 
III, IV and V, "The Four Purposes of Painting," "The Right 
Use of Paint," "Estimating" and "Individual Treatment in 
Exterior Painting." 

In addition, however, there are many exterior surfaces on 
and about the house which require finishing, either at the 
time the house is painted or at another time. 

The finishing of these miscellaneous exterior surfaces will 
be taken up in the following pages. 

Staining Shingles 

Shingled roofs and the sides of shingled buildings are 
generally finished with some form of shingle stain which 
penetrates into or dyes the wood, bringing out the natural 
effect of the grain of the wood instead of coating and con- 
cealing the surface. Shingle stains are usually made with 
creosote, which tends to stop decay as well as prevent the for- 
mation of fungus growth and the attack of insects, a factor 
of particular advantage in certain localities subject to the 
ravages of the white ant and other wood-boring insects. 

In the use of Sherwin-Williams Preservative Shingle 
Stain on new surfaces, the shingles may be either dipped or 
brushed. We recommend one dip coat and one brush coat, 
the dip coat covering both sides of the shingles and under- 
neath the lap for a distance, and the brush coat insuring a 
more uniform appearance. In dipping, the shingles should 
not be soaked in the stain, but dipped in and out rapidly, 
allowing the excess stain to drain back into the container, 
and the shingles thrown into a loose pile so that they will dry 
quickly. Only two-thirds of the length of the shingle need 
be dipped. 

[ Page 155 ] 



In the use of S-W Preservative Shingle Stain over previous- 
ly stained surfaces which are satisfactory in color, the finish 
may be very effectively renewed by using S-W Preservative 
Shingle Stain of the color originally used, thinned gallon 
for gallon with pure raw linseed oil. If another shade is 
desired two coats of stain should be used. In restaining, a 
lighter shade than is actually desired should always be used, 
as stains invariably dry out darker on old surfaces than on 
new. 

However, there are many limitations in restaining, owing 
to the transparent nature of shingle stains. For instance, if 
surface has been previously stained red, it cannot be restained 
green or vice versa, as the refinishing coat will not satisfacto- 
rily hide the original coat. In many cases, very satisfactory 
effects may be obtained in restaining. For instance, a bright 
red over a light brown will give a handsome maroon color; 
a bright green over a light brown will give a beautiful maple 
green effect, etc. 

Sherwin-Williams Preservative Shingle Stain covers ap- 
proximately 100 square feet two coats, or 150 square feet one 
coat to the gallon, if brushed. Two and one-half gallons will 
dip about 1000 shingles one coat. Three gallons will cover 
about 1000 shingles, one dipping coat and one brush coat. 
These estimates for covering capacity, however, can be only 
approximate, owing to the varying character of the shingles, 
whether dressed or rough, hard or soft, etc. 

In cases where the use of shingle stain is not desirable, 
shingles may be very effectively painted with Sherwin-Wil- 
liams SWP House Paint to which should be added about 
25 per cent pure spirits turpentine, which has a tendency to 
reduce the apparent gloss of the paint. 

Doors, Porch Ceilings, Etc. 

For an absolutely waterproof varnished finish on all 
outside woodwork, a high grade spar varnish, such as S-W 
Rexpar, especially adapted to this service, should always be 
used. This type of varnish gets its name from the fact that it 
was originally used on the masts or spars of ships. 

On front doors, the highest class finish may be produced 
through the use of S-W Rexpar Varnish applied as directed 
under caption "Varnishing" on page 49-52. 

[ Page 150 ] 



For front or side doors, porch ceilings, etc., two coats of 
Rexpar may be applied direct to the surface, on new work 
thinning the first coat with one pint pure spirits turpentine to 
the gallon of paint. Each coat should be allowed to dry for 
forty-eight hours. 

Porch ceilings may be very effectively painted with SWP 
House Paint, Light Blue 364 or Sea Green 354 or White being 
most commonly used for this purpose. 

Where undecided as to whether to varnish or paint the 
porch ceiling, take into consideration whether the porch is 
deeply shaded; if so, a painted ceiling will help to bring the 
light in; otherwise a varnish finish is usually the best. 

Side and back doors also may be painted with SWP Maroon 
382, SWP Brown 388 or the trim color in certain cases. 

Porch Floors and Steps 

Porch floors require the use of a paint especially prepared 

to withstand severe outside 
exposure, scufiing of heels 
and repeated cleaning and 
scrubbing. Porch floors 
and steps, on account of 
the severe wear and tear 
resulting from the moving 
about of porch furniture, 
may very profitably be 
painted by the home owner 
in between the times the 
house is painted. This 
will keep the porch and 
steps from looking shab- 
bier than the rest of the 
house and also prevent the 
penetration of moisture 
from storms and cleaning; 
the forerunner of rot and 
decay, avoiding premature costly re pairings. 

In the use of S-W Porch and Deck Paint, the surface to 
be painted should be free from grease and soot and perfectly 
dry. If the job has been previously painted and is peeling, 
scaling off or cracking, burn or scrape off all old scaly paint. 

[ Page 157 ] 




.4 pnod looking front helpx a lot — saves repair 
bills loo. I'o Ihe porch unci sleps ei'ery year 



Stir paint thoroughly from bottom of can. This is im- 
portant. After stirring with a stick or paddle, take two cans 
and pour paint back and forth from one to the other. Apply 
in thin coats and brush out thoroughly. It is better to apply 
three thin coats than two heavy ones. Thin as directed below. 

New Floors 

First coat — Shellac all knots and pitchy spots. Thin paint 
gallon for gallon with pure raw linseed oil and brush out well, 
using a good bristle brush. Do not use boiled oil. When dry, 
putty all nail holes. Do not apply a succeeding coat until the 
previous one has become thoroughly dry. 

Second coat — Add one pint pure spirits turpentine to each 
gallon of paint. Allow forty-eight hours between second and 
third coats. 

Third coat — Apply paint just as it comes from the can 
and brush out well. Always apply three coats on new work. 

Old Floors 

First coat — Where surface is hard and smooth, add one 
pint pure spirits turpentine to each gallon of paint and brush 
out evenly and well. Allow forty-eight hours before applying 
second coat. 

Second coat — Apply paint as it comes from the can and 
brush out thoroughly. 

To treat canvas used on the floors of sleeping porches, thin 
the first coat with one-half gallon of pure raw linseed oil to 
every gallon of paint, and omit the turpentine. For second 
and third coats, apply the paint as it comes from the can. 

Painting the Blinds 

Window blinds from time immemorial have very custo- 
marily been painted green, although sometimes painted the 
same color as the trim. 

One of the greens in the SWF House Paint line may be used 
for this purpose, or else S-W Verdelite, an unusually permanent 
green, made especially for outdoor surfaces, such as window 
blinds, store fronts, structural and ornamental iron work, 
fences, etc. 

[ Page 158 ] 



Gutters, Downspouts, Etc. 

Gutters, downspouts and similar surfaces should be painted 
with a metal protective paint, such as S-W Metalastic. 

In the use of this material, particular care should be taken 
to remove all rust, scale, etc., with a wire brush or scraper. 
Care should also be taken to see that the surface is free from 
moisture and frost as well as perfectly clean and free from 
grease. The paint should be stirred thoroughly from the 
bottom of can and applied with a bristle brush in smooth even 
coats, brushing out well. Succeeding coats should not be 
applied until the previous one is dry. 

If desired, a finishing coat of the house paint or trim color 
or a bright red, such as SWP 367, may be applied over the 
Metalastic coating. 

Screens 

Screens should be painted either when put up in the Spring 
or when put away in the Fall. S-W Screen Enamel (made in 
black and green) may be used. Before applying, brush the 
surface well to remove dust, and scrub both wire and wood- 
work with a brush; then rinse with a hose. Let dry several 
hours; then apply the screen enamel, brushing it out well 
instead of applying in a heavy coat. Paint the frame with 
the same material or with SWP Black. One coat is enough 
for the wire, but two coats may be used on the woodwork if 
a fine job is desired. 

Brick Walls 
Brickwork should not be painted before it is at least a 
year old, so that the lime used in 
the mortar will have time to "cool" 
and not spot through and spoil the 
job. 

In painting brickwork, lay off 
a space and follow the joints, so 
that glossy spots will not show at 
the lap when you do the next space. 
To imitate the color of pressed 
brickwork or terra cotta work, use 
S-W Flat Brick Red. This is a 
Follow the joinis to a..id P^^te material and requires thin- 

showmgiaps niug with turpcutinc to a brushing 

consistency. SWP, S-W Roof and Bridge Paint Red, Cora- 

f Page 159 ] 




monwealth Red, or Concrete Wall Finish are all suited for 
brickwork. 

When using an oil gloss paint on new or unpainted brick- 
work of a very soft nature, the priming coat should carry 
an exceedingly liberal quantity of linseed oil and some tur- 
pentine. Ordinarily a gallon of Hnseed oil and a pint of 
turpentine to the gallon of paint is correct. Allow priming 
coat to dry for three or four days, then take putty, color it 
with the paint and fill up all holes and crevices. Allow this 
to set for a day or two, then apply the second coat, thinned 
about half as much as priming coat. Allow to dry for three 
or four days, then apply the third coat of paint as it comes 
from the can. On a good hard surface two coats are usually 
sufficient. The first coat should be reduced one quart of 
turpentine to each gallon of paint; second coat applied as it 
comes from the can. 

A flat wall brush is most satisfactory for painting brick- 
work. 

Damp- Proofing for Brickwork 
Below Grade 

To prevent the penetration of moisture through foundation 
walls, a foundation damp- proofing such as S-W Antydamp 
should be applied to the exterior of masonry or concrete foun- 
dation below grade. This is best done at the time of building, 
and sufficient space should be provided for, in digging the 
excavation, for men to have room to apply Antydamp to all 
parts of the foundation surface. If the ground is extremely 
wet, effective waterproofing cannot be expected without the 
use of drain tile in addition to any other methods that may be 
employed. 

S-W Antydamp is an alkali-proof, acid-proof, glossy black 
paint of the asphalt type. It should be applied with a three 
or four-knot roofing brush, as it comes from the package, 
except in very cold weather when it is necessary to heat 
slightly before applying. Two coats should be applied, in 
full coats without endeavoring to brush the material out too 
much, because the heavier the coating the more protection 
it affords. Twenty-four hours should be allowed for drying 
between the first and second coats, and at least twenty-four 
hours after the second coat has been applied, before back- 
filling. 

[ Page 160 ] 



In cases where there is a presence of hidden springs or 
marshy land, or hydrostatic pressure in any form around the 
foundation, the use of two coats of Antydamp is not sufficient, 
and under these conditions it will be necessary to alternate at 
least two layers of cheap burlap or felt paper with Antydamp, 
and special instructions regarding this work will be furnished 
on request. 

Concrete and Stucco 

Concrete and stucco buildings may be protected and water- 
proofed as well as beautified by painting witli a finish like S-W 
Concrete Wall Finish. This material is made in a line of 
suitable colors, permitting very attractive color combina- 
tions to be worked out, relieving the cold monotony of un- 
treated concrete or cement, and preventing the streaking of 
walls from rain and dirt. 

In the use of S-W Concrete Wall Finish, the surface to be 
painted should be thoroughly dry and free from grease and 
dirt. Most concrete or plastered walls require two coats to 
produce a thoroughly satisfactory job. The first coat should 
ordinarily be thinned about i20 per cent with pure spirits 
turpentine, and the second coat applied as it comes from the 
can. For very smooth, hard surfaces, the first coat may be 
thinned with pure spirits turpentine, using from a pint to a 
quart for each gallon of paint. Forty-eight hours should be 
allowed between coats for drying. May be applied with a 
spraying machine, if desired. 

Never add linseed oil to a concrete or cement paint for 
the first coat. 

Roof Upkeep 

Roofs may be treated in various ways according to the 
kind of roofing. 

Slate roofs, of course, require no treatment. 

Shingled roofs may be stained, if desired, as explained on 
page 1.55, or may be painted with S-W Roof and Bridge Paint 
or SWP House Paint. 

Composition, felt and prepared or "rubber" roofing, as 
well as all metal, wood or concrete roofs may be coated with 
S-W' Ebonol roofing paint, a heavy bodied black paint with 
splendid protective and waterproof qualities for general exte- 

[ Page 181 ] 



rior upkeep work. This material is not of an artistic nature 
for use on high class dwellings, but for use on buildings where 
utility and economy are the principal factors. 

Repair work of all kinds on and about the roof can be most 
effectively taken care of with such material as S-W Ebolastic 
Roofing Cement. This is a soft, plastic material which may 
be used for repairing leaky roofs, gutters, chimneys, flues, 
chimney flashings, downspouts, etc. It should be applied with 
a trowel, large roofing brush or "squeegee." Is absolutely 
waterproof as well as fireproof and will not run under hot 
Summer sun nor crack in cold weather. May be applied in 
any kind of weather. 

Garages and Outbuildings 

As a rule, these buildings are painted with house paint — 
(SWP — Sherwin-Williams Paint, Prepared) — in the same 
colors as the house. In many cases, however, other colors 
are desirable, and wherever a durable and serviceable 
paint is desired for this purpose at a moderate price a line like 
S-W Commonwealth Paint can be used. These paints are 
made in bright and very attractive shades of red, gray, green 
and orange yellow. When trimmed with white a very pleasing 
effect is presented. 

Porch and Lawn Furniture 

So much is added to the appearance of a place during the 
Summer months in having porch chairs, lawn swings, benches, 
seats, etc., painted, and the cost and the labor of doing the 
work are so trifling that no one should neglect repainting these 
things every year at the start of the outdoor season. 

Sherwin-Williams Porch and Lawn Furniture Enamel is 
made especially for this purpose, in bright colors that are very 
clear in tone, and specially adapted to withstand outside 
exposure and not soften imder heat or stick to clothing. 

In using Porch and Lawn Furniture Pvuamel care should 
be taken to see that the surface is clean and perfectly dry. 
Stir the material thoroughly before attempting to apply. It 
should be applied evenly and not too heavily, using a soft 

[ Page 162 ] 



bristle brush. If considered too heavy for certain work, a 
little pure spirits turpentine may be added. 

Fences, Clothes Posts, Arbors, Trellises, Etc. 

The various little things about the grounds should be kept 
attractively painted. A few minutes' time will do all the 
work, and a few cents will buy all the paint. 

Any of these little things may be painted the same color 
as the house, and especially if done at the time house is being 
painted, will look very well. Or such articles as may be 
detached from the house may be finished in a suitable shade 
of green in keeping with grass and foliage, either an oil gloss 
paint like SWP or a stain like S-W Preservative Shingle 
Stain, or they may be stained in an inconspicuous brown 
approximating the great outdoor color Mother Nature has 
painted the earth and the bark of trees. Or, if desired, 
these outdoor surfaces may be very prettily finished with 
bright oranges, yellows, red or greens, possibly trimmed with 
white. Sherwin-Williams Commonwealth Paint will be found 
very satisfactory for this purpose. 

Fence posts, no matter how finished above ground, may 
very profitably be given a coat of S-W Creosote or Carbolic-ol 
Shingle Stain at the bottom before setting in the ground as a 
preservative against decay. 

Metal Surfaces 

All metal surfaces should be painted with a metal preserva- 
tive paint like S-W Metalastic. This is a graphite paint made 
ordinarily in black and brown, although also furnished in 
gray and green where required. 

In using this material the surface should not only be clean 
and free from grease, but all rust, scale, etc., should be re- 
moved with a wire brush or by scraping with a putty knife. 
Care should also be taken to see that the surface is free from 
frost. The paint should be stirred thoroughly from the bottom 
of can and applied with a brush in smooth even coats, brushing 
out well. Succeeding coats should never be applied until the 
previous one is perfectly dry. If necessary to thin, pure boiled 
linseed oil should be used. 

[ Page 163 ] 



Galvanized Iron 

For priming or first coat on galvanized iron, a product 
like Sherwin-Williams Galvanized Iron Primer should always 
be used, which obviates the liability of peeling and scaling 
so common where ordinary paints are applied directly to 
galvanized surfaces. 

This material is made in grey only and is sup])lied ready 
for application. It should be thoroughly brushed out. 

Galvanized Iron Primer is made for priming purposes only, 
and should be re-coated in from twenty-four to forty-eight 
hours with an oil gloss paint or S-W Metalastic Metal Pro- 
tective Paint. Never allow to stand more than forty-eight 
hours before re-coating. 



[ Page 164 J 



Chapter XIV 

Cleansers and Polishes 



CLEANSERS and polishes have two missions. The 
obvious one is to make surfaces on which they are used 
clean and lustrous. The other, even more important, 
is to keej) finishes in hrst-class condition. 
It is perhaps trite to say that the 
length of time a finish will stay looking 
well is largely dependent on the care 
given it. However, although the above 
fact is commonly known, comparatively 
few people know how to take care of 
painted and varnished finishes properly. 
It is our purpose here to tell how 
to do this and to show 
that with proper materials 
and proper methods this 
work takes but little time, 
and the results are such as 
to make it an interesting 
occupation rather than an 
irksome task. 




A little systematic care keeps fun til itre 
looking like new 



Just as it is important that only the highest grade paints, 
varnishes and enamels be used, it is equally important that 
cleansers and polishes be of known efficiency and reliability. 
Those of doubtful quality may quickly injure the finest finish, 
while the dependable ones of known quality will double or 
treble its life and keep it looking well at the same time. 

It is logical that a concern which manufactures finishes of 
every description should be in the best position to make 
products for keeping these finishes in first-class shape. That 
is why The Sherwin-Williams Company makes a full line of 
cleansers and polishes. As the care of painted and varnished 
surfaces depends as much on the use of the right cleansers and 
polishes as on their correct application, the following will 

[ Page 165 ] 



necessarily deal largely with Sherwin-Williams products and 
their peculiar adaptability to various home requirements. 

The Washing of Varnished, Enameled and Painted 
Surfaces 

Many people experience difficulty in the washing of 
painted, varnished and enameled surfaces. They get all sorts 
of unsatisfactory results. In some cases the finish is dulled 
or killed from using too strong a cleanser — other times a 
smeary appearance results — particularly on a mahogany finish. 

All of these difficulties are removed by the use of S-W 
Flaxoap, an absolutely pure linseed oil soap. Owing to the 
fact that linseed oil is the life of all paints and varnishes, 
Flaxoap is the best cleaner for all painted and varnished 
surfaces. It lathers freely in hot or cold, soft or hard water. 
It contains no animal fat whatever and no free caustic alkali, 
yet it cuts dirt and grease. It is agreeable to use as it leaves 
the hands soft. In fact it is used by many as a hand soap. 
Flaxoap is also excellent for cut glass, windows, fabrics, rugs, 
chinaware and the like. It is an ideal all-around household 
cleaner. 

For cleaning woodwork and furniture, Flaxoap should be 
dissolved in lukewarm water and used in the same way as 
ordinary soap water. The surface should then be wiped off 
with a clean cloth or sponge and polished briskly with a dry 
cloth or chamois. The finish will not only be thoroughly 
cleaned but will look like new, seeming to gain life through the 
use of Flaxoap. 

The use of Flaxoap does away with a lot of hard work, as 
it eliminates the scrubbing brush entirely. Sponging the sur- 
face is all that is necessary to do the work. 

If reasonable care is exercised, high grade furniture, such 
as pianos, victrolas, etc., may be washed with perfect safety. 
Only soaps of absolute purity should be used. Castile, Ivory 
and S-W Flaxoap (which is the highest grade vegetable soap) , 
are all suitable for this kind of work. A very mild solution 
of the soap and water should be made, and care should be 
taken to see that the soap is thoroughly dissolved. All soapy 
deposits should be removed by going over the surface with a 
clean cloth which has been saturated with clean water and 

[ Page 186 ] 



wrung out well. The surface should then be polished with a 
very soft cloth or chamois. All operations should follow each 
other quickly, and the water should not be flushed on too freely 
as it is liable to do damage to some of the interior parts of 
instruments, upholstery or furniture. 

For a thorough cleaning, such as is desired at Spring and 
Fall housecleaning, there is no substitute for soap and water. 
This should always be followed by the application of a polish 
as directed in the following paragraphs, if a fine lustrous polish 
is desired. 

Cleaning and Polishing Furniture and Woodwork 

For the daily dusting or brightening up of furniture and 
woodwork, a dust cloth and a little good polish are unexcelled. 
Care should be taken, however, to use only safe polishes of 
the non-acid type, as acid polishes are injurious to the 
finish. S-W Polish-ol and S-W Floor- Wipe are highly recom- 
mended for the purpose. 

To obtain best results from these polishes, always shake 
well before and while using. Simply pour a little on a piece 
of cheesecloth and rub rapidly and uniformly over the surface. 
Should the surface be exceptionally dirty or spotted, use the 
polish freely and rub thoroughly until in good condition. 
Follow this application by rubbing the surface with a piece 
of dry cheesecloth until the desired polish is obtained. 

Before passing from the subject of furniture polishes, it 
is perhaps well to call attention to some of the common errors 
in the use of them. Some people fail to get the desired polished 
effect because they apply the polishing preparation to too 
much surface, often to every piece of furniture in the room, 
before rubbing to a polish with a clean cloth. This gives an 
opportunity for a gummy, tacky film to form in the mean- 
while. The proper way is to apply the preparation to a com- 
paratively small surface and polish immediately. 

A second precaution is to be sure to rub the surface dry. 
Many persons like to leave the polish on damp, for it seems 
to shine much brighter when it is wet. However, if this is 
done it soon dulls down with a bluish cast and also leaves an 
undesirable oily finish. 

It is well to beware of polishes that work too easily. 
By that we mean those which produce an unusually high 

[ Page 167 ] 



gloss with a minimum of rubbing. Polishes of this sort often 
contain injurious acids, and continued use of them causes 
a finish to crack or check. 

The Care of Brass and Other Metal Surfaces 

Metal surfaces such as water faucets, door knobs and 
builders hardware of all kinds, fixtures, etc., can be kept bright 
and shiny by the use of S-W Bras-Brite. This metal polish 
comes in liquid form and is not gritty, so the danger of 
scratching the surface is eliminated. Only a small amount is 
necessary to clean the surface, one cloth being used for 
cleaning and another for polishing. 

Cleaning and Polishing Floors 

Painted Floors — As in the case of painted furniture, 
painted floors may be kept in the best condition by the use 
of Flaxoap, dissolving a little in lukewarm water and using 
as ordinary soap water. The surface should then be wiped off 
with a clean damp cloth or sponge and polished briskly with 
a dry cloth. Only a small quantity of this soap is required 
to wash a large surface. Flaxoap not only cleans but brings 
back the color and gloss. 

Varnished and Waxed Floors — Varnished floors should be 
washed at regular intervals with Flaxoap, the frequency of 
washing being determined by the wear and cleanliness of the 
locality in which your house is located and the like. 

Between washings the floor may be kept clean and polished 
by the use of Floor-Wipe, a special preparation for cleaning 
and renewing the finish of waxed and varnished floors, wood- 
work, etc. It removes the film of dirt which is found on the 
surface of varnished floors even though they appear clean. 

The application of Floor- Wipe once a week will keep your 
floors in first-class condition. It is easy to apply — simply 
dampen a cloth with the material and wipe up' as in ordinary 
cleaning. Works splendidly with any floor mop. 

Although we recommend Floor- Wipe particularly for floors, 
and Polish-ol for furniture, Polish-ol may be used for floors 
with good results, and many peojjle prefer it. Vice versa. 
Floor- Wipe may also be used on furniture and woodwork. 

This book conceived, wrillen and designed by the Decoroilive and Advertising 
Deparlmenls and printed by the Printing Department of 

The Sherwin-Williams Co. 

[ Page 168 ] 



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